Tag: Cicero (Page 1 of 2)

Lost Albums: CICERO Future Boy

A fan of synthpop and dance music, David Cicero began writing songs and making music in his bedroom, aided by advancements in technology such as affordable samplers and sequencing software. His set-up eventually included a Korg T3, an Akai sequencer, an Akai sampler and a Roland rack mount synth.

Following a PET SHOP BOYS concert in 1989, the lad from Livingston in West Lothian managed to get a demo tape to the duo and before two could be divided by zero, Cicero was offered a record deal with Neil Tennant and Chris Lowe’s new record label Spaghetti Records imprint which was being set up in conjunction with Polydor Records.

Although the excellent debut single for both Cicero and Spaghetti Records ‘Heaven Must Have Sent You Back To Me’ failed to chart, it brought the young photogenic Scot to the attention of radio programmers and press. So when his PET SHOP BOYS produced second single ‘Love Is Everywhere’ was released in late 1991, traditionally a good time to break new acts due to the traditional New Year lull in the music business, it eventually reached No19 in the UK charts. The parent album ‘Future Boy’ was eventually released in Summer 1992.

In celebration of its 30th Anniversary, Cherry Red will be reissuing ‘Future Boy’ as a fully remastered 45-track 3CD deluxe expanded edition with an illustrated 24-page booklet featuring an introduction and track-by-track comments by David Cicero himself. As well as all the Cicero tracks released during his Spaghetti period, there are also ‘Ciceroddities!’ in previously unreleased songs such as ‘Pretend’ and live tracks from a one-off concert at London Heaven opening for PET SHOP BOYS at an after party for the premiere of the 1991 Derek Jarman film ‘Edward II’.

The limited edition white vinyl LP edition of ‘Future Boy’ comes with a bonus DVD ‘Cicerovision!’ and includes all the official promotional videos, his 1992 Electronic Press Kit with contributions from Neil Tennant and live footage of the 1991 Heaven gig.

The melancholic but hopeful pop sound captured on ‘Future Boy’ was a reaction to Scottish radio which had local bands RUNRIG, HIPSWAY, DEACON BLUE and TEXAS on constant rotation. With the international success of PET SHOP BOYS, Cicero had seen an opening for electronic music influenced by acid house and techno but in a more mainstream way.

The London recording sessions were happy ones with Chris Lowe playing the joker while Neil Tennant would hold court, offering his critique on successful artists who he believed were not deserving. “I was loving every moment of it and thought it was amazing” Cicero told ELECTRICITYCLUB.CO.UK in 2019, “looking back now it all seems like a dream.”

With his Italian name and the song’s Italian dance flavour, ‘Heaven Must Have Sent You Back To Me’ ticked all of PET SHOP BOYS boxes as they prepared their first release on Spaghetti, but they opted to produce the second single ‘Love Is Everywhere’. Combining THE PROCLAIMERS with PET SHOP BOYS and OMD while throwing in bagpipes and The Royal Edinburgh Military Tattoo for good measure, it was a bizarre but glorious sound that emerged from the radio just as 1992 began. A Scottish anthem that just worked, Cicero became a pop pin-up with a ‘Smash Hits’ front cover and numerous TV appearances including ‘Top Of The Pops’.

With “Cicero In Da House”, the excellent ‘That Loving Feeling’ also produced by PET SHOP BOYS was the third single prior to launching ‘Future Boy’ but stocking issues at parent label Polydor stalled momentum despite the video being shown pre-release on ITV’s ‘The Chart Show’; Cicero just missed the Top 40 at No46.

Aside from the three singles, ‘Future Boy’ included a number of equally worthy tracks. Cicero’s own personal favourite ‘Then’ was slated to be the fourth single but was shelved in favour of a PET SHOP BOYS remix of ‘Heaven Must Have Sent You Back To Me’. Meanwhile mixed by Tennant and Lowe with Pete Schwier, ‘My Middle Class Life’ was a stark observation on the abuse of class hierachy that had an air of VISAGE in the chorus.

Both recalling NEW ORDER, ‘Sonic Malfunction’ and ‘Cloud 9’ were two catchy instrumentals that revealed Cicero’s affinity with club culture, but with the collapse of The Iron Curtain, he offered something much darker in ‘The Butcher Of Bucharest’ about the Romanian Communist dictator Nicolae Ceaușescu.

At the time a standalone single taken from the PET SHOP BOYS directed soundtrack to the movie ‘The Crying Game’ released in Autumn 1992 but very much a postscript to the ‘Future Boy’ story, ‘Live For Today’ displayed a more orchestrated feel with a superb gospel-tinged vocal from Sylvia Mason-James. Providing a “what if?” scenario as to a possible second album direction, Cicero however dropped out of the pop music industry for personal reasons. Although he would continue to release singles and record instrumental albums under the name THE EVENT, a second Cicero album ‘Today’ would not finally appear until 2021… but that’s another story.

‘Future Boy’ was a promising debut long player and contained a number of outstanding tracks which were enhanced by the involvement of PET SHOP BOYS during their imperial phase. But while that promise was not ultimately fulfilled back then, that Cicero is still making great pop music such as the poignant ‘Hold On To The Memories’ in 2022 shows that the talent really was there and never left him.

For the 30th Anniversary edition of ‘Future Boy’, a previously unreleased song intended for the album ‘Pretend’ has been included into the main tracklisting. There is also an early version of ‘Wish’, a song which he later re-recorded and subsequently appeared on ‘Today’. Among the bonus material, Cicero revisits ‘Love Is Everywhere’ for 2023 while there are also newly commissioned remixes of the track by the likes of SOFTWAVE and SHELTER.

Reflecting on criticism that said ‘Future Boy’ was just another PET SHOP BOYS side-project, David Cicero surmised: “I was their prodigy, they found me and I found them, it’s all about fate. I may have made it without the lads, but having them help me and to be part of it was something I would never change”.


‘Future Boy’ 30th Anniversary Edition with ‘Ciceroddities!’ is released as a 3CD deluxe set via Cherry Red Records on 29 September 2023, pre-order via https://www.cherryred.co.uk/product/cicero-future-boy-3cd-expanded-edition/

The white vinyl LP features a bonus DVD insert ‘Cicerovision!’ and can be pre-ordered at https://www.cherryred.co.uk/product/cicero-future-boy-limited-edition-white-vinyl-lp-with-exclusive-dvd-insert-cicerovision/

https://www.davecicero.com/

https://www.facebook.com/cicero222/

https://twitter.com/Dave_Cicero

https://www.instagram.com/davecicero_official/


Text by Chi Ming Lai
Photos by Eric Watson
18 September 2023

A Short Conversation with CICERO

Photo by Eric Watson

Spaghetti Recordings was the imprint set-up by PET SHOP BOYS with Polydor Records to champion new artists and their first signing was a young Scot named David Cicero.

Cicero was to score a Top20 hit at the start of 1992 with ‘Love Is Everywhere’; produced by PET SHOP BOYS and featuring the unusual cross pollination of THE PROCLAIMERS and OMD with the sound of the Edinburgh Military Tattoo, it showcased the melancholic but rousing electronic pop of the lad from Livingston in West Lothian.

His debut album ‘Future Boy’ was released in Summer 1992 featuring the excellent singles ‘Heaven Must Have Sent You Back To Me’ and ‘That Loving Feeling’ as well as highlights such as ‘My Middle Class Life’, ‘Sonic Malfunction’ and ‘Then’. Later in the year, Spaghetti Recordings were commissioned to provide the soundtrack to the film ‘The Crying Game’ which spawned a PET SHOP BOYS produced recording of the title song sung by Boy George and a new Cicero song ‘Live For Today’ which featured a duet with Sylvia Mason-James.

On the brink of wider success which would have been consolidated by a second album, personal issues led to Cicero leaving the music business altogether for a number of years. Making a tentative return to music, the belated second Cicero album ‘Today’ finally came out in Spring 2021, showcasing a naturally mature outlook.

In celebration of its 30th Anniversary, Cherry Red will be reissuing ‘Future Boy’ as a fully remastered 45-track 3CD deluxe expanded edition with an illustrated 24-page booklet featuring an introduction and track-by-track comments by David Cicero himself.

As well as all the Cicero tracks released during his Spaghetti period, there are also ‘Ciceroddities!’ in previously unreleased songs such as ‘Pretend’ and live tracks from a one-off concert at London Heaven opening for PET SHOP BOYS at an after party for the premiere of the 1991 Derek Jarman film ‘Edward II’. In addition, David Cicero revisits ‘Love Is Everywhere’ for 2023 while there are also newly commissioned remixes of the track by the likes of SOFTWAVE and SHELTER.

The limited edition white vinyl LP edition of ‘Future Boy’ comes with a bonus DVD ‘Cicerovision!’ and includes all the official promotional videos, his 1992 Electronic Press Kit with contributions from Neil Tennant and live footage of the 1991 Heaven gig.

David Cicero kindly chatted with ELECTRICITYCLUB.CO.UK with about the contents of the upcoming 30th Anniversary reissue, the reception for ‘Today’ and the future of the ‘Future Boy’.

This 30th Anniversary edition of ‘Future Boy’ has been updated to include a track called ‘Pretend’ in the main tracklisting, how come that got let off in the first place?

I think it was really down to the timing. We were still working on the track and I think we hit the deadline and decided to leave it out.

I read somewhere (I think it was PET SHOP BOYS fan club newsletter) that ‘Future Boy’ had originally been intended as an eight track album but ‘Cloud 9’ and ‘Sonic Malfunction’ were added at almost the final hour?

Not true, it was always intended to have these tracks as I had created them prior to moving to London and producing the album.

When ‘Heaven Must Have Sent You Back To Me’ was first released, it did not involve PET SHOP BOYS on the production side and David Jacob did the honours, but can you remember the excitement of putting out your debut single and the PSB remix which was later issued as the ‘fourth’ single?

Yes, it was exciting to have them work on it even though I did want ‘Then’ to be the next single at the time. Once it was completed, it did sound great and was happy we went with it instead.

What particularly motivated you to write ‘The Butcher Of Bucharest’ about Nicolae Ceaușescu?

I remember watching the news about this and seeing all the poor souls that suffered under this man, a so-called leader of the people who was pure evil. For some reason it drew me closer and I started watching documentaries and reading about it and I had this internal feeling that I must write a song about it, so I did.

There are a bunch of dance instrumental B-sides included in the package, what was your approach to these and do you have a favourite?

‘Splatt’ is probably my favourite. I love writing instrumentals, I feel that sometimes this helps bring out emotions in another level. I still do this in THE EVENT which I have released several ambient albums on. I like pop for the commercial side of things and THE EVENT for more emotional and even political driven direction. It’s part of me and what I am also known for so why not have them all on there for the people to enjoy.

How did the idea of the new remixes of ‘Love Is Everywhere’ come about, did you have any say who did them? How have you found them, particularly the SOFTWAVE version which has their singer Catrine Christensen duetting with you?

What can I say about the SOFTWAVE version but wow. I remember chatting with Barney at Cherry Red about this idea and Barney mentioned that he wanted to do some remixes for it but I did not know at the time who they were. He sent me them up once they were complete and I love them all. However when I listened to the SOFTWAVE mix, I was drawn to it immediately. I had created the promo video for the new ‘Future Boy’ release promo and knew their mix would fit perfectly. They had put a lot of time and effort into this mix and deserve to be part of it.

There are a bunch of ‘Ciceroddities’ as extras, one being an early 7” Version of ‘Wish’ which you later redid for your second album ‘Today’ in 2021, what had that been intended for and what are your feelings hearing it again?

I have the demo on tape so have listened to it when recreating it for the latest Cicero album ‘Today’. I always loved this song and tried many singers before Bianca came along. It was intended to be a later Cicero release and just missed being originally on ‘Future Boy’ but was written a way back then.

What can you remember about the 1991 Heaven gig opening for PET SHOP BOYS which is included visually as a bonus DVD on the vinyl LP and as audio on the ‘Ciceroddities!’ disc of the 3CD set, were you a natural stage performer?

I was crapping myself and maybe had a little too much to drink on the nite. I wouldn’t say I am a natural performer as nerves take the better of me. This may be why I don’t do many live gigs. It was an honour to be with the boys on the night and really got into it once the gig went on, just like my gig in Livingston.

You finally followed up ‘Future Boy’ in 2021 with ‘Today’, how has the journey been to release music again, are you enjoying the experience? Has it met your expectations?

You have to believe in yourself and keep going, never give up no matter who or what tries to stop you. This was my mission to release another album. I had been working on this for several years and thought the time was right to get it out there. The feedback I had was amazing from true fans who appreciated it and have been there since day one and some new ones too. I did expect more exposure but as it was released independently, the cost of promotion was not there and as you know, a lot of the radio stations are controlled by bigwigs and teenagers who only like one type of genre. I will keep going, keep writing as long as God wants me too.

You released an excellent new single ‘Hold On To Your Memories’ in 2022, is this the beginnings of your third album?

Thank you. Yes it is, I am hoping to have this out in 2024. I only have a few songs left to complete the album, but I want to make sure I am 100% happy with it before the release.

You released a single ‘We Were In Love’ with a software “AI” singer named Solaria on lead vocals, so is this the future, boy?

It was really just a project I was playing about with. I had completed the music and had the idea of using Solaria on the track. It involves a lot of tinkering but the final results were wonderful. I did not want to announce at first that she was AI and waited on the reaction. A few knew but I had so many asking who the singer was, so I made a video about the software which you can see on my official YouTube channel. She may feature again on the album but I think I will stick with the real Future Boy thing for now.


ELECTRICITYCLUB.CO.UK gives its warmest thanks to David Cicero

Special thanks to Matt Ingham at Cherry Red

‘Future Boy’ 30th Anniversary Edition with ‘Ciceroddities!’ is released as a 3CD deluxe set via Cherry Red Records on 29 September 2023, pre-order via https://www.cherryred.co.uk/product/cicero-future-boy-3cd-expanded-edition/

The white vinyl LP features a bonus DVD insert ‘Cicerovision!’ can be pre-ordered at https://www.cherryred.co.uk/product/cicero-future-boy-limited-edition-white-vinyl-lp-with-exclusive-dvd-insert-cicerovision/

https://www.davecicero.com/

https://www.facebook.com/cicero222/

https://twitter.com/Dave_Cicero

https://www.instagram.com/davecicero_official/

https://www.youtube.com/channel/UCn2u-hBlIdgiyOUNWntcxXA

https://open.spotify.com/artist/7HRosqc2irGpixMFV8xWUO


Text and Interview by Chi Ming Lai
1 August 2023

2021 END OF YEAR REVIEW


As the world steadily emerged from a painful pandemic that put many lives on hold, nostalgia appeared to be the commodity most in demand as the music industry took steps to recover.

No matter which era, anything musically from the past was more desirable that anything that reminded the public of the past 20 or so months. The first escape destination in the summer for many restricted to staying on their own shores were the established retro festivals.

Meanwhile television provided an array of documentaries ranging from chart rundowns of past decades and informative classic song analysis on Channel 5 to Dylan Jones’ look at ‘Music’s Greatest Decade’ on BBC2 and Sky Arts’ ‘Blitzed’ with all the usual suspects such as Boy George, Philip Sallon, Marilyn, Gary Kemp and Rusty Egan.

SPARKS had their own comprehensive if slightly overlong film ‘The SPARKS Brothers’ directed by Edgar Wright, but the Maels’ musical ‘Annette’ starring Adam Driver was a step too far. Meanwhile the acclaimed ‘Sisters With Transistors’ presented the largely untold story of electronic music’s female pioneers.

It was big business for 40th anniversary live celebrations from the likes of HEAVEN 17, THE HUMAN LEAGUE, OMD and SOFT CELL, while other veterans such as NEW ORDER and ERASURE returned to the live circuit with the biggest indoor headlining shows of their career.

Meanwhile for 2022, Midge Ure announced an extensive ‘Voices & Visions’ tour to present material from the 1981-82 phase of ULTRAVOX.

Also next year and all being well, GOLDFRAPP will finally get their belated 20th Anniversary tour for their marvellous debut ‘Felt Mountain’ underway while there are rescheduled ‘Greatest Hits’ live presentations for PET SHOP BOYS and SIMPLE MINDS.

Always money for old rope, but also giving audiences who missed them at their pioneering height an opportunity to catch up, ‘best of’ collections were issued by YELLO and TELEX while JAPAN had their 1979 breakthrough album ‘Quiet Life’ given the lavish boxed set treatment. Meanwhile, while many labels were still doing their best to kill off CD, there was the puzzling wide scale return of the compact cassette, a poor quality carrier even at the zenith of its popularity.

“Reissue! Repackage! Repackage! Re-evaluate the songs! Double-pack with a photograph, extra track and a tacky badge!” a disgraced Northern English philosopher once bemoaned.

The boosted market for deluxe boxed sets and the repackaging of classic albums in coloured vinyl meant that the major corporations such as Universal, Sony and Warners hogged the pressing plants, leaving independent artists with lead times of nearly a year for delivery if they were lucky.

But there was new music in 2021. Having achieved the milestone of four decades as a recording act, DURAN DURAN worked with Giorgio Moroder on the appropriately titled ‘Future Past’ while not far behind, BLANCMANGE took a ‘Commercial Break’ and FIAT LUX explored ‘Twisted Culture’. David Cicero made his belated return to music with a mature second album that was about ‘Today’ as Steven Jones & Logan Sky focussed on the monochromatic mood of ‘European Lovers’. Continuing the European theme but towards the former Eastern Bloc, Mark Reeder gave a reminder that he was once declared ‘Subversiv-Dekadent’ and fellow Mancunians UNE became inspired by the ‘Spomenik’ monoliths commissioned by Marshal Tito in the former Yugoslavia.

For those who preferred to immerse themselves in the darker present, Gary Numan presented ‘Intruder’, a poignant concept album produced by Ade Fenton about Mother Earth creating a virus to teach mankind a lesson! Meanwhile ITALOCONNECTION, the project of Italo veterans Fred Ventura and Paolo Gozzetti teamed up with French superstar Etienne Daho to tell the story of ‘Virus X’! The video of the year came from UNIFY SEPARATE whose motivation message to ‘Embrace The Fear’ despite the uncertainty reflected the thoughts of many.

Despite the general appetite for nostalgia, there was some excellent new music released from less established artists with the album of the year coming from Jorja Chalmers and her ‘Midnight Train’ released on Italians Do It Better. The critical acclaim for the UK based Aussie’s second long playing solo offering made up for the disbandment of the label’s biggest act CHROMATICS, as it went into its most prolific release schedule in its history with albums by GLÜME, JOON, DLINA VOLNY and LOVE OBJECT as well as its own self-titled compilation of in-house Madonna covers.

As Kat Von D teamed up with Dan Haigh of GUNSHIP for her debut solo record ‘Love Made Me Do It’, acts like DANZ CM, CLASS ACTRESS, GLITBITER, PRIMO THE ALIEN, PARALLELS, KANGA, R.MISSING, I AM SNOW ANGEL, XENO & OAKLANDER, HELIX and DAWN TO DAWN showed that North America was still the creative hub as far as electronically derived pop songs went.

Attracting a lot of attention in 2021 were NATION OF LANGUAGE, who with their catchy blend of angst, melody and motorik beats welcomed synths as family in their evolving sound while also providing the song of the year in ‘This Fractured Mind’, reflecting the anxieties of these strange times. At the other end of the spectrum, DIAMOND FIELD went full pop with an optimistic multi-vocalist collection that captured the spirit of early MTV while BUNNY X looked back on their high school days with ‘Young & In Love’.

ACTORS delivered their most synthy album yet while as LEATHERS, they keyboardist Shannon Hamment went the full hog for her debut solo effort ‘Reckless’. FRONT LINE ASSEMBLY released a new album and some of that ‘Mechanical Soul’ was brought by their Rhys Fulber into his productions this year for AESTHETIC PERFECTION.

In Europe, long playing debuts came from PISTON DAMP and WE ARE REPLICA while NORTHERN LITE released their first album completely in German and FRAGRANCE. presented their second album ‘Salt Air’. There was also the welcome return of SIN COS TAN, KID KASIO, GUSGUS, MARVA VON THEO, TINY MAGNETIC PETS and MAN WITHOUT COUNTRY.

Featuring second generation members of NEW ORDER and SECTION 25, SEA FEVER released their eclectic debut ‘Folding Lines’ as fellow Mancunian LONELADY added sequencers and drum machines to her post-punk funk template. But Glasgow’s CHVRCHES disappointed with their fourth long player ‘Screen Violence’ by opting to sound like every other tired hipster band infesting the land.

The most promising artist to breakthrough in 2021 was Hattie Cooke whose application of traditional songwriting nous to self-production and arrangement techniques using comparatively basic tools such as GarageBand found a wider audience via her third album ‘Bliss Land’. In all, it was a strong year for female synth-friendly artists with impressive albums from Karin My, Laura Dre, Alina Valentina, Robin Hatch and Catherine Moan while comparative veterans like Fifi Rong, Alice Hubble, Brigitte Handley and Alison Lewis as ZANIAS maintained their cult popularity.

In 2021, sometimes words were very unnecessary and there were fine instrumental synth albums from BETAMAXX, WAVESHAPER, КЛЕТ and Richard Barbieri, with a Mercury nomination received by Hannah Peel for ‘Fir Wave’. But for those who preferred Italo Noir, popwave, post-punk techno and progressive pop, Tobias Bernstrup, Michael Oakley, Eric Random and Steven Wilson delivered the goods respectively.

With ‘The Never Ending’ being billed as the final FM ATTACK album and PERTURBATOR incorrectly paraphrased by Metal Hammer in a controversial “synthwave is dead” declaration, the community got itself in a pickle by simultaneously attacking THE WEEKND for “stealing from synthwave”, yet wanting to ride on the coat tails of Abel Tesfaye, misguidedly sensing an opportunity to snare new fans for their own music projects.

With THE WEEKND’s most recent single ‘Take My Breath’, there was the outcry over the use of a four note arpeggio allegedly sampled from MAKEUP & VANITY SET’s ‘The Last City’. But as one online observer put it, “Wow, an arpeggiated minor chord. Hate to break it to you but you might want to check out what Giorgio Moroder was doing 50 years ago. We’re ALL just rippin’ him off if that’s how you think creativity works”. Another added “If a four note minor key arpeggiated chord can go to court on the basis of copyright law, we are in for a hell of a few years my synthy friends”. It outlined once again that there are some who are still under the impression that music using synths was invented by Ryan Gosling in 2011 for ‘Drive’ soundtrack ??

There were also belated complaints that 2019’s A-HA inspired ‘Blinding Lights’ had a simple melody and needed five writers to realise it… but then, so did UTRAVOX’s ‘Slow Motion’ and DURAN DURAN’s ‘Rio’! Collaboration, whether in bands, with producers or even outsiders has always been a key aspect of the compositional process. If it is THAT simple, do it yourself! As Andy McCluskey of OMD said on ‘Synth Britannia’ in 2009 about the pioneering era when Ryan Gosling was still in nappies: “The number of people who thought that the equipment wrote the song for you: ‘well anybody can do it with the equipment you’ve got!’ “F*** OFF!!”

Over the last two years, THE WEEKND has become the biggest mainstream pop act on the planet, thanks to spectacles such as the impressive gothic theatre of the Super Bowl LV half time showcase while in a special performance on the BRITS, there was a charming presentation of the ERASURE-ish ‘Save Your Tears’ where he played air synth in a moment relatable to many. But everything is ultimately down to catchy songs, regardless of synth usage.

So ELECTRICITYCLUB.CO.UK would like to present a hypothetical case to consider… if someone uses the arpeggio function with a sparkling patch from a Juno 6 synth in a recording, does Cyndi Lauper sue for infringing the copyright of ‘All Through The Night’ or the original songwriter Jules Shear or even the Roland Corporation themselves as they created it? More than one producer has suggested that THE WEEKND’s soundbite came from a hardware preset or more than likely, a software sample pack, of which there are now many.

However, sample culture had hit another new low when Tracklib marketed a package as “A real game-changer for sample based music. Now everyone can afford to clear samples” with rapper and producer Erick Sermon declaring “Yo, this is incredible. They’re trying to put creativity back into music again. By having samples you can actually pay for and afford”.

Err creativity? How about writing your own songs and playing or even programming YOUR OWN instrumentation??!? One sampling enthusiast even declared “I might go as far as to say you don’t really like dance music if you’ve got a problem with adding a beat to a huge (even instantly recognizable) sample”… well guess what? ELECTRICITYCLUB.CO.UK LOATHES IT!!! ?

In 2021, music promotion became a bit strange with publicists at all levels keen more than ever to have their clients’ press releases just cut ‘n’ pasted onto online platforms, but very reluctant to allow albums to be reviewed in advance in the event of a potential negative prognosis.

While cut ‘n’ paste journalism has been a disease that has always afflicted online media, in a sad sign of the times, one long established international website moved to a “pay to get your press release featured” business model.

The emergence of reaction vloggers was another bizarre development while the “Mention your favourite artist and see if they respond to you” posts on social media only added more wood to the dumbing down bonfire already existing within audience engagement.

It was as if the wider public was no longer interested in more in-depth analysis while many artists turned their publicity into a reliance on others doing “big ups” via Twitter and Facebook. But then, if artists are being successfully crowdfunded with subscriptions via Patreon, Kickstarter, Bandcamp and the like, do they need a media intermediary any longer as they are dealing direct with their fanbases?

However, it wasn’t all bad in the media with ‘Electronically Yours With Martyn Ware’ providing insightful artist interviews and the largely entertaining ‘Beyond Synth’ podcast celebrating its 300th show. Due to their own music commitments, Steven Wilson and Tim Bowness were less prolific with their discussion show ‘The Album Years’ but it was still refreshing for commentators to be able to say that a record was sh*t when it actually was, rather than conform to the modern day adage that all music is good but not always to the listener’s taste!  And while various programmes came and went, other such as ‘Operating//Generating’, ‘KZL Live’ and ‘Absynth’ came to prominence.

Post-pandemic, interesting if uncertain times are ahead within the music industry. But as live performance returns, while the mainstream is likely to hit the crowd walking, will there be enough cost effective venues to host independent artists? Things have been tough but for some, but things might be about to get even tougher.

However, music was what got many through the last 18 months and as times are still uncertain, music in its live variant will help to get everyone through the next year and a half and beyond.


ELECTRICITYCLUB.CO.UK’s year in music is gathered in its 2021 Playlist – Missing U at
https://open.spotify.com/playlist/4rlJgJhiGkOw8q2JcunJfw


Text by Chi Ming Lai
17th December 2021

CICERO Today

David Cicero’s ascent into the pop charts was swift. The first signing to Neil Tennant and Chris Lowe’s Spaghetti Records imprint, his 1991 PET SHOP BOYS produced single ‘Love Is Everywhere’ reached No19 in the UK charts.

The album ‘Future Boy’ followed in 1992 while he also contributed the song ‘Live For Today’ to the Oscar nominated film ‘The Crying Game’. But record company politics intervened at Spaghetti Records’ parent organisation Polydor and after the sad passing of his manager Peter Andreas, Cicero effectively left the mainstream music industry.

There were sporadic solo single releases over the next few decades, while he released several albums as THE EVENT and collaborated with dance DJs on a number of trance tracks. It was after a comeback charity concert in July 2019 in aid of MacMillan Cancer Support that Cicero started to put together his second album.

He had material from his Spaghetti Records days as well as his occasional singles, thus half the album was already written. So while reconfiguring his ‘Future Boy’ songs into a modern technological format for his live return, he would work on new material during breaks from programming. The Scot told ELECTRICITYCLUB.CO.UK: “it’s not ‘Future Boy 2’ but it’s still going to have that Cicero feel to it with a more up to date cutting edge sound”

Fast forward to 2021 and during the intervening period, Cicero tragically lost his mother and stepfather within a year. As a result, the album ‘Today’ is a very personal affair tinged with sadness but also full of hope.

Opening track ‘It’s Over’ is not too frantic a start and eases the listener back into the world of Cicero; using the voice treatments of now, it is that relatable tale of being in love with someone you can’t get on with… hey, we’ve all been there!

The hopeful euphoria of ‘Wish’ is undeniably a close relation to ‘Live For Today’ and features Amy Meave Baillie on vocals.

She ably deputises for Sylvia Mason-James in a manner that Neil Tennant used refer to as a “disco lungsmith” and perhaps unsurprisingly, it is a song from that bygone Spaghetti Records era.

Also led by soaring female vocals are the poignant ‘Face This World Alone’, a drum n bass excursion first issued as a single in 2015 and ‘Anyone But You’ which exudes further ripples of the breakbeat form, indicating the origins of both may have been from the same period. At the opposite end of the spectrum, ‘In the Rain (Children of Today)’ is a homely piano ballad featuring his daughter Holly calling for a better world and hoping that “happiness will come my way”.

A slice of heavenly spaghetti disco, ‘River of Lies’ is mighty with a strong PET SHOP BOYS influence. Out of all the tracks on ‘Today’, it is the one that, as his former mentor Neil Tennant used to say when he was Assistant Editor of Smash Hits, confirms Cicero is “Back-back-BACK!”. Also uptempo, the propulsive banger ‘Hide from Life Instead’ is wonderfully energetic and even features a few drops, all that’s missing are strobes!

A solemn heartfelt ballad, ‘This Way I Feel Inside’ encapsulates the very personal reflections that are omnipresent on ‘Today’. But the self-explanatory ‘Turned Around’ shows how the future boy has become a future man. A song about watching his daughter growing up, it is joyful tune that moves from ballad into Eurodance stomper after a minute and a half. It is also slightly reminiscent of Roger Sanchez’s TOTO sampling ‘Another Chance’ but with a considerably stronger lyrical focus.

Closing with ‘Broken’, a ballad concluding with a glorious piper’s lament and elegiac Vangelis inspired synth, Cicero heartbreakingly recalls in song of how he was unable to see his mother when she passed away.

‘Today’ is a mature midlife statement that touches on topics such as love, relationship breakdown, parenthood and bereavement which many will relate to. There are also some nostalgic nods to clubbing but let’s face it, while it is fun to go out and dance in your 50s, you wouldn’t want to do it every week now or even every month. It reflects the stage of life when the end is closer than the beginning, but there is still so much more to do and with that in mind, there can be a new found optimism.

It may have taken nearly 30 years for Cicero to follow-up his debut album, but it is time to rejoice that he is still able to produce good music, with some cracking tracks contained on ‘Today’.

Bentornato Cicero 🙂


‘Today’ is available via the usual digital platforms

https://www.davecicero.com/

https://www.facebook.com/cicero222/

https://twitter.com/Dave_Cicero

https://open.spotify.com/album/3XyjeCiUPloTomB387JH9e


Text by Chi Ming Lai
14th March 2021

2019 END OF YEAR REVIEW

2019 was a year of 40th Anniversaries, celebrating the synth becoming the sound of pop when ‘Are Friends Electric?’ reached No1 in the UK chart in 1979.

While GARY NUMAN opted for ‘(R)evolution’ and two of his former sidemen RRussell Bell and Chris Payne ventured solo for the first time, OMD offered a 7 disc ‘Souvenir’ featuring a whole album of quality unreleased material to accompany a concert tour to celebrate four decades in the business. That was contrary to DEPECHE MODE who merely plonked 14 albums into a boxed set in a move where the ‘Everything Counts’ lyric “the grabbing hands grab all they can” became more and more ironic… MIDGE URE partied like it was 1980 with the music of VISAGE and ULTRAVOX, while SIMPLE MINDS announced an arena tour for 2020 so that their audience could show Jim Kerr their hands again.

HEAVEN 17 announced some special showcases of the early material of THE HUMAN LEAGUE and got a particularly warm reception opening on tour for SQUEEZE as a trailer ahead of their own ‘Greatest Hits’ jaunt next year.

Celebrating 20 years in music, there was the welcome return of LADYTRON with a self-titled comeback album, while Swedish evergreens LUSTANS LAKEJER performed the ‘Åkersberga’ album for its 20th Anniversary and similarly GOLDFRAPP announced a series of shows in honour of their magnificent cinematic debut ‘Felt Mountain’.

Cult favourites FIAT LUX made their intimate live comeback in a church in Bradford and released their debut album ‘Saved Symmetry’ 37 years after their first single ‘Feels Like Winter Again’.

As a result, their fans were also treated to ‘Ark Of Embers’, the long player that Polydor Records shelved in 1985 when the band were on the cusp of a breakthrough but ended with a commercial breakdown.

Modern prog exponents Tim Bowness and Steven Wilson got back together as NO-MAN for their dual suite electronic concept record ‘Love You To Bits’, but an even more ambitious undertaking came from UNDERWORLD with their boxed set ‘Drift Series 1’.

Also making live returns were one-time PET SHOP BOYS protégé CICERO with a charity gig in his hometown of Livingston, WHITE DOOR with JOHAN BAECKSTRÖM at Synth Wave Live 3, ARTHUR & MARTHA and Mute Records veterans KOMPUTER.

After a short hiatus, the mighty KITE sold-out three gigs at Stockholm Slaktkyrkan and ended the year performing at an opera house, while GIORGIO MORODER embarked on his first ever concert tour where his songs were the stars.

Although their long-awaited-as-yet-untitled third album was still to materialise, VILE ELECTRODES went back on the road in Europe with APOPTYGMA BERZERK and THE INVINCIBLE SPIRIT. Meanwhile, Chinese techno-rock sextet STOLEN opened for NEW ORDER on their Autumn European tour and EMIKA performed in a series of Planetariums.

Despite the fall of The Berlin Wall 30 years ago, there were more evident swipes to the right than there had been for a long time, with the concept of Brexit Electro becoming a rather unpleasant reality. So in these more sinister times, the need for classic uplifting electronic pop was higher than ever.

To that end, three superb debut albums fitted the bill. While KNIGHT$ offered quality Britalo on ‘Dollars & Cents’, the suave presence of Ollie Wride took a more MTV friendly direction with ‘Thanks In Advance’. But for those wanting something more home produced, the eccentric Northern electronic pop of the brilliantly named INTERNATIONAL TEACHERS OF POP continued the artistic lineage of THE HUMAN LEAGUE.

QUIETER THAN SPIDERS finally released their wonderful debut album ‘Signs Of Life’ which was naturally more understated and Denmark had some worthy synthpop representation with SOFTWAVE producing an enjoyably catchy debut long player in ‘Game On’.

On the shadier side of electronic pop, BOY HARSHER achieved a wider breakthrough with their impressive ‘Careful’ long player but as a result, the duo acquired a contemporary hipster element to their fanbase who seemed to lack manners and self-awareness as they romped around gigs without a care for anyone around them. But with tongues-in-cheeks, SPRAY continued to amuse with their witty prankelectro on ‘Failure Is Inevitable’.

Photo by Johnny Jewel

Italians Do It Better kept things in house as CHROMATICS unexpectedly unleashed their first album for six years in ‘Closer To Grey’ and embarked on a world tour. Main support was DESIRE and accompanied on keyboards by HEAVEN singer Aja, the pair took things literally during their cover version of ‘Bizarre Love Triangle’ with a girl-on-girl kiss in front of head honcho Johnny Jewel. Other ITIB acts on the tour dependent on territory included DOUBLE MIXTE, IN MIRRORS and KRAKÓW LOVES ADANA. But the best work to appear from the stable came from Jorja Chalmers who became ‘Human Again’.

There were a variety of inventive eclectic works from FAKE TEAK, MAPS, FINLAY SHAKESPEARE, ULTRAMARINE, TYCHO, THE GOLDEN FILTER, FRAGRANCE. and FADER. Meanwhile VON KONOW, SOMEONE WHO ISN’T ME and JAKUZI all explored themes of equality while BOYTRONIC preferred ‘The Robot Treatment’. But expressing themselves on the smoother side of proceedings, SHOOK who looked east towards the legend of YELLOW MAGIC ORCHESTRA.

Dark minimalism reigned in the work of FRAGILE SELF and WE ARE REPLICA while no less dark but not so aggressive, WITCH OF THE VALE cemented their position with a well-received opening slot at Infest. Dubliner CIRCUIT3 got political and discussed ‘The Price Of Nothing & The Value Of Everything’.

2019 was a year of electronic instrumental offerings galore from NEULAND, Ricardo Autobahn, EKKOES, M83, RELIEF, FEMMEPOP and OBLONG, although Eric Random’s dystopian offering ‘Wire Me Up’ added vocoder while Brian Eno celebrated the 50th anniversary of the first moon landing ‘For All Mankind’.

The King of Glum Rock LLloyd Cole surprised all with an electronic pop album called ‘Guesswork’ just as PET SHOP BOYS set an ‘Agenda’. HOWARD JONES released his most synthy work for years in ‘Transform’ and while CHINA CRISIS acted as his well-received support on the UK leg of his 35th Anniversary tour, their front man Gary Daly ventured solo with ‘Gone From Here’.

Among the year’s best new talents were IMI, Karin MyGretaGeiste and Alice Hubble with their beautifully crafted avant pop.

And with the media traction of artists such as GEORGIA, REIN, JENNIFER TOUCH, SUI ZHEN, THE HEARING, IONNALEE, PLASMIC, ZAMILSKA, IOANNA GIKA, SPELLLING, KANGA, FIFI RONG and I AM SNOW ANGEL, the profile of women in electronic music was stronger than ever in 2019.

Sweden continued to produce quality electronic pop with enjoyable releases from the likes of MACHINISTA, PAGE, COVENANT, OBSESSION OF TIME and LIZETTE LIZETTE. One of the most interesting acts to emerge from the region was US featuring the now Stockholm-domiciled Andrew Montgomery from GENEVA and Leo Josefsson of LOWE, with the catalyst of this unlikely union coming from a shared love of the late country legend Glen Campbell. Meanwhile, veteran trio DAYBEHAVIOR made the best album of their career ‘Based On A True Story’.

However, Canada again gave the Swedes a good run for their money as ELECTRIC YOUTH and FM ATTACK released new material while with more of a post-punk slant, ACTORS impressed audiences who preferred a post-post-punk edge alongside their synths.Dana Jean Phoenix though showed herself to be one of the best solo synth performers on the live circuit, but artistically the best of the lot was MECHA MAIKO who had two major releases ‘Okiya’ and ‘Let’s!’.

Despite making some good music in 2019 with their ‘Destroyer’ two-parter, the “too cool for school” demeanour of TR/ST might have impressed hipsters, but left a lot to be desired. A diva-ish attitude of entitlement was also noticed by ELECTRICITYCLUB.CO.UK to be disappointingly prevalent in several fledgling acts.

Synthwave increased its profile further with the film ‘The Rise Of The Synths’ narrated by none other than John Carpenter. MICHAEL OAKLEY released his debut album ‘Introspect’, BETAMAXX was ‘Lost In A Dreamworld’, COM TRUISE came up with a ‘Persuasion System’ and NEW ARCADES were ‘Returning Home’.

Scene veteran FUTURECOP! collaborated with PARALLELS, COMPUTER MAGIC and NINA prior to a hiatus for the foreseeable future, while there were promising new talents emerging in the shape of POLYCHROME, PRIZM, BUNNY X and RIDER. However, several of the sub-genre’s artists needed to rethink their live presentations which notably underwhelmed with their static motions and lack of engagement.

While promoters such as Outland developed on their solid foundations, others attempted to get too big too soon like the musical equivalent of a penis extension, leaving fans disappointed and artists unpaid. Attempting to turnover more than 10 acts during in a day with a quarter of an hour changeover has always been an odious task at best, but to try 15?!? One hopes the headliners were well paid despite having to go on at midnight when most of their supporters went home so as not to miss the last train…

Now at times, it was as if a major collective midlife crisis had hit independent electronic music in the UK during 2019. It was not unlike how “born again bikers” have become a major road safety risk, thanks to 40somethings who only managed Cycling Proficiency in Junior School suddenly jumping onto 500cc Honda CMX500 Rebel motorcycles, thinking they were Valentino Rossi.

Something similar was occurring in music as a variety of posturing delusional synth owners indulged in a remix frenzy and visions of grandeur, forgetting that ability and talent were paramount. This attitude led to a number of poorly attended events where attendees were able to be counted on one hand, thanks to clueless fans of said combos unwisely panning their video footage around the venue.

Playing at 3:15pm in an empty venue is NOT performing at a ‘major’ electronic festival… “I’ll be more selective with the gigs I agree to in the UK” one of these acts haplessly bemoaned, “I’ve played to too many empty rooms!” – well, could that have been because they are not very good?

Bands who had blown their chance by not showing willingness to open for name acts during holiday periods, while making unwise comments on their national TV debut about their lack of interest in registering for PRS, said they were going to split a year in advance, but not before releasing an EP and playing a farewell show in an attempt to finally get validation for their art. Was this a shining example of Schrodinger’s Band?

Of course, the worst culprits were those who had an internet radio show or put on gigs themselves so that they could actually perform, because otherwise external promotors were only interested in them opening at 6.15pm after a ticket deal buy on for a five band bill. Humility wouldn’t have gone amiss in all these cases.

It’s a funny old world, but as ELECTRICITYCLUB.CO.UK comes up to concluding its tenth year as an influential platform that has written extensively about not one or two or three or four BUT five acts prior to them being selected to open on tour for OMD, luckily the gulf between good and bad music is more distinct than ever. It will be interesting to see if the high standard of electronic pop will be maintained or whether the influx of poor quality artists will contaminate the bloodline.

So ELECTRICITYCLUB.CO.UK ends the decade with a complimentary comment by a punter after attending two of its live events: “You don’t put on sh*t do you…”

May the supreme talent rise and shine… you know who you are 😉


ELECTRICITYCLUB.CO.UK Contributor Listings of 2019

PAUL BODDY

Best Album: UNDERWORLD Drift Series 1
Best Song: MOLINA Venus
Best Gig: RAMMSTEIN at Milton Keynes MK Bowl
Best Video: SCALPING Chamber
Most Promising New Act: SCALPING


IAN FERGUSON

Best Album: NO-MAN Love You To Bits
Best Song: NO-MAN Love You To Shreds
Best Gig: RAMMSTEIN at Stadion Slaski Chorzow
Best Video: RAMMSTEIN Deutschland
Most Promising New Act: IMI


SIMON HELM

Best Album: PAGE Fakta För Alla
Best Song: PAGE Fakta För Alla
Best Gig: LAU NAU at London Cafe OTO
Best Video: LAU NAU Amphipoda on Buchla 200 at EMS Stockholm
Most Promising New Act: THE HIDDEN MAN


CHI MING LAI

Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: KITE at Stockholm Slaktkyrkan
Best Video: NIGHT CLUB Your Addiction
Most Promising New Act: IMI


RICHARD PRICE

Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: MIDGE URE at The London Palladium
Best Video: IMI Margins
Most Promising New Act: PLASMIC


MONIKA IZABELA TRIGWELL

Best Album: MECHA MAIKO Let’s
Best Song: KANGA Burn
Best Gig: DANA JEAN PHOENIX, KALAX + LEBROCK at London Zigfrid von Underbelly
Best Video: IONNALEE Open Sea
Most Promising New Act: PRIZM


Text by Chi Ming Lai with thanks to Ian Ferguson
16th December 2019, updated 29th Janaury 2021

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