Tag: De/Vision (Page 1 of 3)

25 SONGS NOT SUNG BY THE LEAD VOCALIST

Wikipedia says “The lead vocalist in popular music is typically the member of a group or band whose voice is the most prominent melody in a performance where multiple voices may be heard”.

It also adds “The lead vocalist may also be called the main vocalist or lead singer. Especially in rock music, the lead singer or solo singer is often the front man or front woman”. A BBC Radio 4 parody series ‘Radio Active’ first made the joke in 1981 that “Ringo Starr isn’t the best drummer in THE BEATLES” and in a similar way, it could be said that Bernard Sumner is not the best singer in NEW ORDER.

However, the lead vocalist is considered the figurehead and often the character of a band so regardless of what is said publicly about democracy, a hierarchy inevitably ensues.

But what happens when another member of the band takes their turn at the front? In most cases, it is just a one-off although sometimes it becomes recurring feature over successive albums. These tracks can meet with varying degrees of success, but there have even been occasions where the second vocalist eventually becomes lead singer! However, there have been strange situations where a less vocally competent instrumentalist is unhappy about the attention that a singer is getting and insists on switching roles, thus ensuring that the band does not play to any of its strengths!

So taking things back to front and with a limit of one track per act, ELECTRICITYCLUB.CO.UK presents a list of 25 songs not sung by the lead vocalist in chronological, then alpnabetical order…


ULTRAVOX Mr X (1980)

Having been an idea that dated back to the John Foxx-era of ULTRAVOX just before his departure, the KRAFTWERK influenced robotic spy story of ‘Mr X’ was voiced by Warren Cann while Midge Ure was settling in as the band’s new lead vocalist. The track had begun as ‘Touch & Go’ and been premiered live. In a gentlemen’s agreement, keyboardist Billy Currie gave his melody of ‘He’s A Liquid’ in return for Foxx’s melody to ‘Touch & Go’, hence the structural similarity to ‘Mr X’.

Available on the album ‘Vienna’ via Chrysalis Records

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


DEPECHE MODE Any Second Now (1981)

Although now known as a songwriter, Martin Gore had contributed an instrumental ‘Big Muff’ and one song with lyrics ‘Tora! Tora! Tora!’ on DEPECHE MODE’s debut album. Written by Vince Clarke like most of ‘Speak & Spell’, ‘Any Second Now’ was a beautiful minimalist set piece that stood out amongst the dance friendly synthpop tunes and suited an understated tone of expression. And so began a tradition of Gore taking on DM’s ballads instead of front man Dave Gahan.

Available on the album ‘Speak & Spell’ via Sony Music

https://www.depechemode.com/


DRAMATIS Turn (1981)

DRAMATIS were the former Gary Numan live band and while their only album to date ‘For Future Reference’ was musically virtuoso, the band’s Achilles’ heel was vocals. RRussell Bell and Denis Haines were the quartet’s main singers and Numan himself guested on DRAMATIS’ biggest hit ‘Love Needs No Disguise’, but the classically trained multi-instrumentalist Chris Payne found himself a reluctant vocalist on a song he had written called ‘Turn’; “I have never felt comfortable about my own voice” he clarified.

Available on the album ‘For Future Reference’ via Cherry Red Records

https://www.discogs.com/artist/45761-Dramatis


NEW ORDER Doubts Even Here (1981)

After the end of JOY DIVISION, Peter Hook, Bernard Sumner and Stephen Morris reconvened as NEW ORDER as a symbol of their fresh start while recruiting Gillian Gilbert on keyboards and guitar. Synths and drum machines were taking greater prominence but not entirely. While Sumner did the majority of the vocals on their debut album ‘Movement’, it was Hooky’s fraught delivery on ‘Doubts Even Here’ and words from The Bible spoken by Gilbert that provided the album’s most glorious moment.

Available on the album ‘Movement’ via Rhino

http://www.neworder.com/


KISSING THE PINK Watching Their Eyes (1982)

Best known for the profound anti-war statement ‘The Last Film’ which entered the Top20 in 1983, KISSING THE PINK had Nick Whitecross as their lead singer. Produced by Colin Thurston, the baroque opera tinged ‘Watching Their Eyes’ saw saxophonist Josephine Wells provide a haunting impassioned vocal. Wells went on to play live with TEARS FOR FEARS but sadly, she was to later battle her own traumas as a survivor of the Marchioness boat disaster in 1989 which led to the deaths of 51 people.

Available on the album ‘Naked’ via Cherry Red Records

https://www.facebook.com/kissingthepink/


CHINA CRISIS Wishful Thinking (1983)

With his OMD success, Mike Howlett produced what turned out to be the most synth based CHINA CRISIS long player. Utilising Emulator strings and a pizzicato sample derived from plucking an acoustic guitar string close to the bridge, ‘Wishful Thinking’ was written and thus sung by guitarist Eddie Lundon. A sweetly textured, melodic pop single that deserved its hit status, lead singer Gary Daly responded with ‘Never Too Late’ but that song was shelved to eventual B-side status for sounding too similar.

Available on the album ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ via Caroline Records

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


TEARS FOR FEARS The Hurting (1983)

While Roland Orzabal is more or less seen as TEARS FOR FEARS lead singer these days, that’s not how it was perceived at the start even though he sang their debut single ‘Suffer The Children’. Following three Top10 hit singles in a row prior to the release of their debut album ‘The Hurting’, Curt Smith was considered the face and the voice of the band. Orzabal was main songwriter and sang lead on the title track with a more angst-ridden take than was heard on the Smith-fronted singles; this was to become the band’s future dynamic.

Available on the album ‘The Hurting’ via Mercury Records

https://tearsforfears.com/


YAZOO Happy People (1983)

Of Vince Clarke’s most polarising song since ‘What’s Your Name?’ for DEPECHE MODE, Alison Moyet said “That could have been the beginning of the end for us… in fact, no it wasn’t because Vince had already decided to leave. ‘Happy People’, I just tried singing it a couple of ways and I just hit him with ‘I can’t do this, you want it sung, you sing it yourself mate!’… so he sang it himself, fair play to him”. The song itself was an ironic send-up of middle aged political activists.

Available on the album ‘Three Pieces’ via Mute Records

https://yazooinfo.com/


BERLIN Rumor Of Love (1984)

Multi-instrumentalist John Crawford had proved himself a capable if almost anonymous singer when duetting with BERLIN front woman Terri Nunn on their 1982 breakthrough track ‘Sex (I’m A…)’. But for the B-side of the 1984 Giorgio Moroder produced single ‘No More Words’, Crawford did a lead vocal turn on the Mike Howlett-helmed ‘Rumor Of Love’ which echoed Scott Walker and ended up as a bonus track on the original edition of the ‘Love Life’ album

Available on the album ‘Love Life’ via Rubellan Records

https://www.berlinmusic.net/


OMD Never Turn Away (1984)

While Andy McCluskey was the lead singer of OMD, Paul Humphreys would see his less frequent vocalled tracks released as singles with ‘Souvenir’, ‘Secret’ and ‘Forever Live & Die’ becoming international hits. While their fifth ‘Junk Culture’ saw forays into brass sections, calypso and reggae, ‘Never Turn Away’ was a more traditional OMD ballad with Autumnal atmospheres but while it was a fine album track, it made little impression as a single release.

Available on the album ‘Junk Culture’ via Virgin Records

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


PROPAGANDA Dream Within A Dream (1985)

While Susanne Freytag was the original PROPAGANDA vocalist with her stark narrative style, she soon stepped back in favour of her friend and TOPOLINOS bandmate Claudia Brücken. While Freytag’s Germanic prose remained vital on songs such as ‘Doctor Mabuse’ and ‘P-Machinery’, her vocal style suited the lead role on ‘Dream With A Dream’, a 9 minute epic which put a mighty soundtrack to accompany an Edgar Allan Poe poem which was first published in 1849.

Available on the album ‘A Secret Wish’ via ZTT Records

https://www.xpropaganda.co.uk/


KRAFTWERK The Telephone Call (1986)

On the disappointing ‘Techno Pop’ née ‘Electric Café’ album, Karl Bartos gave assured performance in his only lead vocal for KRAFTWERK on ‘The Telephone Call’. While the assertive automated phone messages were a sharpened metaphor for female empowerment, band politics were at play when Ralf Hütter refused to let Bartos lip-synch his part on the accompanying monochromatic video although Wolfgang Flür got to mime a single phrase while cast in shadow.

Available on the album ‘Techno Pop’ via EMI Music

https://kraftwerk.com/


PET SHOP BOYS Paninaro (1986)

“Passion and love and sex and money – Violence, religion, injustice and death” went the opening phrases of Chris Lowe’s debut lead vocal for PET SHOP BOYS. Dryly spoken rather than sung, the track was a celebration of an Italian fashion cult who were the anti-hipsters of the period and openly loved pop like DURAN DURAN. The middle eight featuring an ‘Entertainment Tonight’ interview saw Lowe deadpan: “I don’t like Country & Western. I don’t like rock music. I don’t like Rockabilly. I don’t like much, really, do I? But what I do like, I love passionately!”

Available on the album ‘Alternative’ via EMI Music

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


NITZER EBB Let Beauty Loose (1987)

With Douglas J McCarthy fronting NITZER EBB, the singing abilities of instrumentalist Bon Harris only came to the fore with his ‘Songs From the Lemon Tree’ lockdown live streams of solo covers often tinged with falsetto. But on the ‘That Total Age’ album, he had shouted his way through ‘Let Beauty Loose’, a typical slice of frantically paced EBM. Acting as a supersub in late 2021, Harris stood in for a hospitalised McCarthy at two NITZER EBB shows in Palm Beach and Toronto.

Available on the album ‘That Total Age’ via Mute Records

http://www.nitzer-ebb.com/


BOOK OF LOVE With A Little Love (1988)

Originally from Philadelphia, BOOK OF LOVE were started by school friends Susan Ottaviano and Ted Ottaviano who were not actually related. Jade Lee and Lauren Roselli Johnson joined later on and the quartet were invited to support DEPECHE MODE on two US tours while their single ‘I Touch Roses’ was reissued in a Daniel Miller remix. Although Susan Ottaviano was lead vocalist, Ted Ottaviano impressed on ‘With A Little Love’ from their second album ‘Lullaby’ which was co-produced by Flood.

Available on the album ’Lullaby’ via Noble Rot

https://www.bookoflovemusic.com/


CAMOUFLAGE Sooner Than We Think (1989)

German trio CAMOUFLAGE named themselves after a YELLOW MAGIC ORCHESTRA track and threw their love of DEPECHE MODE into the mix. While Marcus Meyn was lead singer and the voice of hits like ‘The Great Commandment’, on their second album ‘Methods Of Silence’, both instrumentalists Heiko Maile and Oliver Kreyssig did a vocal turn, with the latter’s ‘Sooner Than We Think’ considered worthy enough to merit inclusion on their first two Best Of compilations ‘We Stroke The Flames’ and ‘Rewind – The Best Of 95-87’.

Available on the album ‘Methods Of Silence’ via Universal Music

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


KON KAN Move To Move (1989)

Despite Kevin Wynne being the voice on KON KAN’s sample heavy NEW ORDER inspired international hit ‘I Beg Your Pardon’, he was a hired hand as the mastermind behind the project was Canadian producer Barry Harris. The surprise success led to interest in an album for which Wynne did most of the vocals for, while also being involved in its promotion. However, Harris took the lead on the album’s title track which came out as a 12″ club mix. For the next two KON KAN albums ‘Syntonic’ and ‘Vida!’, Wynne was not recalled.

Available on the album ‘Move To Move’ via Atlantic Records

https://www.facebook.com/konkanofficial


THE HUMAN LEAGUE One Man In My Heart (1995)

Although the front man and sole remaining founder member, Phil Oakey has often cited Susanne Sulley as the best singer in THE HUMAN LEAGUE. While she famously did a verse on the UK and US No1 ‘Don’t You Want Me?’ as well as various solo phrases on ‘(Keep Feeling) Fascination’ and ‘Heart Like A Wheel’, she didn’t get a lead vocal turn until ‘One Man In My Heart’. The format of the song fitted right in with the rise of female fronted trios like DUBSTAR, SAINT ETIENNE and PEACH.

Available on the album ‘Octopus’ via EastWest

https://thehumanleague.co.uk/


DURAN DURAN Medazzaland (1997)

Having been slated for their 1995 covers album ‘Thank You’, DURAN DURAN were in a state of turmoil by 1997; Simon Le Bon was experiencing writer’s block while John Taylor was suffering from depression. This state of affairs led to Nick Rhodes working more closely with guitarist Warren Cuccurullo and the keyboardist taking a spoken word lead on the title track of the ‘Medazzaland’ album. Taylor left halfway through recording the parent long player while the end product was only released in the US, resulting in the end of the band’s tenure with EMI.

Available on the album ‘Medazzaland’ via Tape Modern

https://duranduran.com


LADYTRON True Mathematics (2002)

With a template similar to PROPAGANDA, LADYTRON had a singing vocalist in Helen Marnie while Mira Aroyo provided stark spoken prose in her native Bulgarian. While the latter had been an enticing subplot to ‘Discotraxx’ on the debut album ‘604’, Aroyo took the deadpan lead on the fierce ‘True Mathematics’ which opened their next album ‘Light & Magic’. Owing a debt to THE NORMAL’s ‘Warm Leatherette’, it premiered a much harder LADYTRON sound.

Available on the album ‘Light & Magic’ via Nettwerk

https://www.ladytron.com/


KID MOXIE Medium Pleasure – Marsheaux remix (2009)

KID MOXIE actually began as a duo comprising of Elena Charbila and Erica Zabowski, recording an EP ‘Human Stereo’ and album ‘Selector’. Although Charbila took the majority of the lead vocals in her airy continental style, Zabowski adopted more of a snarl on ‘Medium Pleasure’ with a lyric attacking cultural and artistic mediocrity. By the time ‘Selector’ was released, the pair had already parted but thanks to a physical CD release on Undo Records, the track was boosted by a remix from MARSHEAUX

Available on the album ‘Selector’ via Undo Records

https://www.facebook.com/kidmoxie


DE/VISION Kamikaze (2012)

Forming in 1988 and releasing their debut long player ‘World Without End’ in 1994, German duo DE/VISION have been a mainstay in Europe for enthusiasts of darker electronic climes. Comprising of Steffen Keth on vocals and Thomas Adam on synths, their vast majority of their songs have been sung in English. For their 2012 album ‘Rockets & Swords’, there was a surprise in the penultimate song ‘Kamikaze’ which was not only voiced by Adam but also in Deutsch.

Available on the album ‘Rockets & Swords’ via Popgefahr Records

http://www.devision-music.de


TWINS NATALIA I Avoid Strangers (2014)

The Anglo-German ensemble TWINS NATALIA comprised of Marc Schaffer, Steve Lippert, synth wizard Dave Hewson and singers Sharon Abbott and Julie Ruler, with the latter three from cult combo POEME ELECTRONIQUE. Touchingly melancholic with classic Weimar Cabaret melodies and vibrant Kling Klang interplay, their music conjured memories of holiday romances. But the uptempo ‘I Avoid Strangers’ featured Hewson on vocals, possessing a paranoia that suited the song perfectly.

Available on the album ‘The Destiny Room’ via Anna Logue Records

https://www.facebook.com/twinsnatalia


CHVRCHES High Enough To Carry You Over (2015)

The two Martin Doherty vocalled tracks on ‘The Bones Of What You Believe’ polarised opinion and his voice made an appearance again on the synth driven funk of ‘High Enough To Carry You Over’ for CHVRCHES second album ‘Every Open Eye’. While nowhere near as accomplished as main vocalist Lauren Mayberry, by taking on a more Americanised drawl in the vein of MISTER MISTER, this was a big improvement on the stoner vibe of his two singing attempts on the debut long player.

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

http://chvrch.es/


APOPTYGMA BERZERK Nearest (2019)

The project of Norwegian Stephan Groth, APOPTYGMA BERZERK went Deutsch on the ‘Nein Danke!’ EP while displaying a prominent “NEWWAVESYNTHPOP” legend on its artwork. ‘Nearest’ saw Stephan’s live bandmate and brother Jonas step into the limelight on a chilled electronic ballad ‘Nearest’ that possessed the same ethereal qualities as the best known APOP track ‘Kathy’s Song’. Jonas Groth has since stepped fully up to the front in his own synthpop duo PISTON DAMP.

Available on the EP ‘Nein Danke!’ via Pitch Black Drive

http://www.theapboffice.com/


Text by Chi Ming Lai
Photo by Catrine Christensen
31st December 2022

ARCTIC SUNRISE Interview

Mönchengladbach is best known for the Borussia football team and F1 driver Heinz-Harald Frentzen.

But the North Rhine-Westphalia city is also the base of electronic duo ARCTIC SUNRISE. Comprising of Torsten Verlinden on vocals and Steve Baltes on synths, the seasoned pairing cite DEPECHE MODE, ULTRAVOX, HEAVEN 17, VISAGE, BLANCMANGE and OMD among their influences.

Opening for DAF’s Robert Görl, ARCTIC SUNRISE performed at the 2017 Electri_City_Conference in Düsseldorf. The intuitive crowd warmed to their enjoyable brand of dark synthpop showcased on songs like ‘Tell The Truth’ and ‘When Traces End’ which recalled the overtones of fellow German acts such as DE/VISION and CAMOUFLAGE.

ELECTRICITYCLUB.CO.UK caught up with Steve Baltes from the duo to chat about music, synths and stuff…

With two successful albums bagged, are you pleased with how you’ve been received in the synth circles?

We are actually quite overwhelmed by the extremely warm welcome in the scene, since we pretty much came out of nowhere, with quite different musical careers before ARCTIC SUNRISE. We were very surprised especially by the global reception, worldwide airplays and fantastic reviews – so, yes… we are way more than pleased!

You cite the influences from DEPECHE MODE, HEAVEN 17, ULTRAVOX, VISAGE and BLANCMANGE. All things British then?

Good call! There’s some kind of spiritual connection to cities like Sheffield and Manchester. Synthpop-wise, the UK is where it really started and the most amazing and for us most influential music came from.

It’s the first thing which blows you away which will stay for you the whole life and that just was the sound of ULTRAVOX, VISAGE, NEW ORDER, HEAVEN 17, OMD and others…

Do you mind being compared to DE/VISION?

It’s not a bad thing to be compared to great bands, but to be honest we actually do not know too much of their material and are a bit surprised that we get compared quite often. We do think that they sound a bit more Depeche than us and vocal wise, we also sound quite different. If you do electronic pop music, you just share kind of the same DNA.

Germany mothers many a synth band. How would you say your sound differed from the rest?

We are not following this too closely, but we think that due to the way we work we might have developed our own sound. Part of that is to not use virtual instruments in the studio and the use of old drum machines in a contemporary way as well as making your own sounds. A lot of the bands use the same pool of sounds especially with drums or the more trancey preset lead hook sounds which we are not into too much and this makes a lot of projects sound quite similar. But there’s still much interesting stuff out there as well.

You like your vintage synths and drum machines. Any firm favourites?

If I have to name just one it’s probably the Linn Drum, this one really shaped a decade and gives you that warm feeling in your stomach by just switching it on 😉

I really love the fact that there is just one Kick and on Snare instead of gigabytes of Drum Libraries you carry on your computer.

Synth-wise, it would be the Roland System 100M Modular Synthesizer, which we pretty much use on every song – pure synthpop bliss.

What selection of hardware did you predominantly use on ‘When Traces End’?

It’s quite a long list, to name a few… drum machines like the Linn and Oberheim DMX, Korg DDD-1, Kawai R100, the mighty Simmons SDSV, some weird soviet effects, drum boxes and synthesizers like the fantastic Aelita which is 90% of ‘Tell The Truth’.

More synths we used a lot are the Roland System 100M, Akai AX60, Polymoog Keyboard as well as newer analogue stuff from my favourite companies (and friends) like Dreadbox from Greece or Analogue Solutions from the UK, especially the Nyborg12.

How does the use of vintage synthesizers translate to live gigs?

For gigs we try to keep it quite simple, safe and not too heavy.

Some sounds I play on stage, I recreated on virtual instruments like the U-He Zebra or Alchemy from Camel Phat inside of Ableton Live which also runs the drums and sequencer stuff.

For the analogue vibe, I play a quite rare Korg SB100 Synthesizer which I love a lot and mainly use for bass live. It’s small, built into a handy case and adds a really nice low end to the setup. It’s also built like a tank and even though it’s very old, it’s very reliable. Some of the other machines from the studio would be a bit scary on stage, since they have their own life sometimes.

Any plans to visit the UK Soon?

It would be fantastic to actually play in the UK since we feel very connected because of our musical heroes, but unfortunately nothing planned yet … we’ll see. From time to time, I go to the UK for some shows of bands like BLANCMANGE who are not playing in Germany since they became active again. Recently I also played with my ambient project BALTES & ERBE near Birmingham which was nice.

After two albums, is there a third one looming?

Yes, absolutely – we are working on it and have a couple of songs written, loads of ideas and so far around 3 songs completely finished. Since we were very pleased especially with the last album, we try really hard to take things even further, which we think we did with a couple of the new ones. We don’t have a roadmap for a release yet, but we think maybe around the end of 2018. We just want to make sure it’s as good as possible. So please be patient 😉

You mention the influences derived from the pinnacle years of synth, any contemporary artists that take your fancy?

I love the latest stuff by TRENTEMØLLER which has a nice 80s vibe without just being retro. Also I was blown away by the latest BJÖRK album, very innovative and strange in the best way. Also THE XX, WRANGLER and FADER… not sure if you could call this contemporary though 😉

How did the Electri_City_Conference gig come about and how do you think it went?

I’ve known Carsten Siewert, who was organising the Conference, loosely for about 30 years. Back then I was working in a Supermarket and he worked for a company who delivered CDs to the shop – back then we always had a nice chat mainly about DEPECHE MODE or electronic music.

We then met from time to time and I visited the Conference as well. At one point we were thinking about showing some gear at Electri_City as well and he mentioned ”hey, if you there for the gear anyway, you of course have to play with your band as well” which we of certainly couldn’t resist.

It was a great event and show, the people were very friendly. It was almost family like and the reception was fantastic. So we were more than happy to get the chance to play an event like this. Stage looked great, sound was great, we think we played quite good and people seem to like it … what more to ask for, we were VERY happy to be part of this!

The synth world is raving about the new Minimoog Model D, have you got yours yet?

Actually I finally ran out of space for more keyboards and only might be able to add some smaller stuff like drumboxes or Eurorack modules. Regardless I played the new Model D a few times and I must admit that I really like it a lot. Next to the Moog Sub 37, it’s the first of the newer Moogs I really loved. I used to have a Minimoog Voyager which I never really got along with too, well since it sounded a bit “static” in my opinion (sorry!) … so if I find some extra room or a larger space, or maybe bring some stuff to my repair guy I might finally join the party.

What album would you say you loved the most in 2017?

I think probably ‘The Punishment Of Luxury’ by OMD, what a great return – it was a big surprise and still sounded fresh! Also the latest GARY NUMAN album – fantastic production!


ELECTRICITYCLUB.CO.UK gives its grateful thanks to Steve Baltes

Both ARCTIC SUNRISE albums ‘A Smarter Enemy’ and ‘When Traces End’ are released by Echozone

https://www.facebook.com/wearearcticsunrise/

https://www.reverbnation.com/arcticsunrise4

http://www.echozone.de


Text and Interview by Monika Izabela Trigwell
31st January 2018

A Short Conversation with NINA

Since her debut single ‘We Are The Wild Ones’ in 2013, Berlin-born songstress NINA has grown in profile and stature.

Support slots with ERASURE and DE/VISION followed in 2014 but it was her cinematic second single ‘My Mistake’ that was to become her breakthrough. Picked up by Mercedes Benz, the song featured on an advertisement that played throughout Europe.

2015’s synth laden cover of BLONDIE’s ‘Heart Of Glass’ kept the momentum going, but new material arrived in the shape of ‘Beyond Memory’ in 2016. Produced by RICHARD X, best known for his work on SUGABABES ‘Freak Like Me’ and RACHEL STEVENS ‘Some Girls’, the tune takes NINA’s own brand of pulsating electronic pop into nocturnal territory, with her vocals deliciously slicing the moonlit atmosphere with a superbly breathy chorus.

NINA kindly chatted to ELECTRICITYCLUB.CO.UK about her career to date…

How would you yourself describe your sound?

My sound is melancholic, dreamy and Paradise longing synthpop.

Many artists move to Berlin but you moved away from the city?

I moved to London over 13 years ago. Berlin was quite different back than (2004), especially the music scene.

I guess I was a bit bored and wanted to explore a new world and really dive into the British music scene.

However I’m a real ‘Berliner’ at heart and always will be. I guess you could say I never really ‘moved away’ from Berlin, as I fly over several times a year. I’m in between and got the best of both worlds.

Which artists particularly influenced you musically?

A lot of British artists like QUEEN, DEPECHE MODE and DAVID BOWIE but also growing up listening to German synthpop and new wave artists like ALPHAVILLE, KRAFTWERK and NENA.

How would you describe your composition and production process?

It varies but normally I come up with the concept and set the mood first. I write down whatever I feel. It can be moody, melancholic or abstract. Dreams, travels, fear, tears and the past inspire me. I then get together with my drummer Lau and decide what production we’re going to go for. We have an incredible network of producers like OSCILLIAN, SUNGLASSES KID and RICHARD X, so we tend to collaborate quite a bit with them.

What is the story behind ‘My Mistake’ getting picked up for a Mercedes Benz advert?

Mercedes Benz interviewed me for their blog M! a couple of years ago and they loved what I was working on and were very supportive. About a year later, my publishers Aztec Music Publishing sent the track to an agent (DMS) who was looking for music for the ad and it got chosen. The campaign was just renewed for another year, which is great.

You’ve shared a stage with German veterans DE/VISION and Marcus Meyn from CAMOUFLAGE, do you feel any spiritual affinity with bands from this past era?

Oh yes! We share the same passion. Music connects people like nothing else. I really admire all they have achieved. Watching them perform is very inspiring and I really take everything in.

My favourite DE/VISION song is ‘Where’s The Light’ and I love CAMOUFLAGE’s ‘The Great Commandment’.

You also supported ERASURE on their US East Coast tour in 2014, what was that like?

Incredible! It’s been 3 years and I still can’t believe I actually toured with them. I wish I could do it all over again. Andy Bell is a fantastic performer and a lovely person.

One thing you have in common with ERASURE is that you have both covered BLONDIE’s ‘Heart Of Glass’; what made you choose that song in particular?

Well, ‘Heart Of Glass’ is my favourite BLONDIE song. I’m always quite mindful about recording a cover, as I want to show people who I am as an artist and make sure I put my own twist on it. I decided to slow it way down and make it quite emotional. I’m glad it was so well received.

Your most recent single is called ‘Beyond Memory’, what is it about?

‘Beyond Memory’ is a very personal song. It’s about failed relationships and the void you feel after a painful breakup, which really can make you lose yourself.

How is your debut album coming together?

We’ve got lots of songs ready, so I’m very excited. We’re releasing a new single first and the debut album probably sometime in 2017.

You recently had a discussion on Facebook about whether your drummer should use an electronic or acoustic kit. Why the dilemma?

We just wanted to hear the fans views. We’ll soon be incorporating some acoustic drums to her electronic kit. It’s all about finding that beautiful balance of sounds for the live shows.

What’s next for you?

My new single EP is out around February time via Aztec Records / Metropolis and I’m so excited for everyone to hear it. It will include a few awesome remixes too. The single is about not quite conforming to what society expects from us. I will be announcing more details very soon.


ELECTRICITYCLUB.CO.UKgives its warmest thanks to NINA

Special thanks to Laura Fares at Aztec Records

‘The Beginning’ featuring ‘We Are The Wild Ones’, ‘My Mistake’, ‘Dark Rider’ and ‘Heart Of Glass’ is released by Aztec Records as a CD-R, starburst effect multi-coloured vinyl LP, cassette and download, available direct from https://ninasounduk.bandcamp.com/album/the-beginning

https://www.iloveninamusic.com/

https://www.facebook.com/iloveninamusic

https://twitter.com/iloveninamusic

https://www.instagram.com/ninasounduk/


Text and Interview by Chi Ming Lai
26th January 2017, updated 26th January 2021

2016 END OF YEAR REVIEW

What In the World…

tec2016review-mopho2016 will forever be remembered as the year when a significant number of cultural icons and popular musical figures left us; David Bowie, Prince, Isao Tomita, Pete Burns, Colin Verncombe, Keith Emerson, Don Buchla and Leonard Cohen were just some of the names who sadly departed.

But despite sadness that loomed, the year did produce some good music, particularly in the second half of the year.

GARY NUMAN launched an ambitious Pledge Music campaign and released some excellent collaborations with JOHN FOXX & THE MATHS, JEAN-MICHEL JARRE and TITÁN. But with his retrospective tour of material from his three most popular albums taking up much of his year, his new crowdfunded album did not meet its planned October release deadline.

jarreyello2016Meanwhile JEAN-MICHEL JARRE had an excess of material and issued the second volume of his ‘Electronica’ project which also featured YELLO and PET SHOP BOYS, plus a third instalment to his classic opus ‘Oxygène’.

YELLO and PET SHOP BOYS also released new albums to a positive reception, proving again that partnerships featuring personnel over the age of 60 can still create music that is fresh and relevant.

Incidentally, one of YELLO’s young vocalists FIFI RONG continued to maintain her artistic profile with successful campaigns for her releases ‘Forbidden Desires’ and ‘Alone’.

Hannah-Peel-2016-042016 saw two concept albums emerge in ‘The Ship’ from BRIAN ENO, a solemn art piece with poignant anti-war messages and ‘Awake But Always Dreaming’, a very personal musical statement by HANNAH PEEL on the traumas of dementia. It was a busy year for Miss Peel with her also contributing her voice to BEYOND THE WIZARDS SLEEVE and JOHN FOXX & THE MATHS, as well as showcasing her own MARY CASIO side project.

WRANGLER released a new album ‘White Glue’ which exuded a less rigid format compared to its predecessor ‘LA Spark’ and collaborated with JOHN GRANT at the Rough Trade 40 live celebrations, while the prolific Neil Arthur issued another new BLANCMANGE album in ‘Commuter 23’ while also launching a new side project NEAR FUTURE with BERNHOLZ.

midgerusty-2012The Manchester veteran ERIC RANDOM issued ‘Words Made Flesh’, the second album of his recent return to the music while RUSTY EGAN finally presented ‘Welcome To The Dancefloor’ which despite its title, was actually a collection of classic styled synthpop. After many years of trials and tribulations for the co-founder of VISAGE, the long player featuring MIDGE URE, TONY HADLEY and CHRIS PAYNE who co-wrote ‘Fade to Grey’ exceeded expectations.

Space travel and synths were just made to go together, so JØTA and VANGELIS conceived projects covering The Cold War space race and the more recent Rosetta probe respectively. Meanwhile, WHITE LIES again showed they are as synthy as they are guitary on their ‘Friends’ album, and even started to sound like A-HA!

Fellow blog Cold War Night Life released ‘Heresy: A Tribute to RATIONAL YOUTH’ which featured PSYCHE and MACHINISTA as well as the Canadian trailblazers themselves. Meanwhile Ireland staked its claim as a new territory for synthpop talent; CIRCUIT3 ‘siliconchipsuperstar’, TINY MAGNETIC PETS ‘The NATO Alphabet’ and EMBRACE THE CRISIS ‘Black Heart’ were good examples of what was on offer from the Emerald Isle.

Over in the UK, VILE ELECTRODES, SPRAY and ANALOG ANGEL all released new albums. There were long awaited long players too from SHELTER and SINESTAR, but these suffered when compared to respective acts from Sweden, JOHAN BAECKSTRÖM and PRESENCE OF MIND.

So again, Sweden still proved it was special with SILENT WAVE and MY GOD DAMN TERRITORY exhibiting varying degrees of potential. But it was REIN in particular who was causing a stir within the ranks of EBM, while the country’s best kept secret KITE toured North America and Asia. However, neither of these two latter artists figured in the line-up of Gothenburg’s Electronic Summer 2016 festival.

The Nordic region saw the welcome return of VILLA NAH with the album ‘Ultima’ after a five year absence, while TRENTEMØLLER made the case again as to why he is still the perfect producer for DEPECHE MODE with his new long player ‘Fixion’.

However, Norwegian acts APOPTYGMA BERZERK and ELECTRO SPECTRE ensured the Swedes, Finns and Danes did not have it all their own way.

Greece was still the word with LIEBE, KID MOXIE and MARSHEAUX all presenting brand new releases, while SARAH P. maintained her profile with a series of inventive promo videos highlighting the ongoing issues of equality for women within the music industry. Embracing the same issue on the other side of the Atlantic, I AM SNOW ANGEL immersed herself in setting up the FEMALE FREQUENCY collective while also releasing her own music.

2016 was a good year for female acts with EMIKA, KALEIDA, ANI GLASS, THE HEARING, KITE BASE, KATJA VON KASSEL, HOLOGRAM TEEN and VOI VANG among those making a positive impression. There was also ‘SVIIB’, the final album from SCHOOL OF SEVEN BELLS and the emergence of CHRISTINE & THE QUEENS, while LADYHAWKE remembered what a good album sounded like with ‘Wild Things’.

night-club-requiem-for-romance-2016Over in LA, NIGHT CLUB developed on the promise of their EP trilogy and got a bit heavier on their debut long player ‘Requiem For Romance’, ending up sounding not unlike Britney fronting NINE INCH NAILS in the process!

After gestation periods of nearly six years, both EKKOES and THE MYSTIC UNDERGROUND finally released their debut albums.

Meanwhile the instrumental front, Texan couple HYPERBUBBLE provided some ‘Music To Color By’, Brussels duo METROLAND touchingly paid tribute to their late friend Louis Zachert with ‘Things Will Never Sound The Same Again’ and ULRICH SCHNAUSS went ‘No Further Ahead Than Today’. And MOBY offered a gift to profound relaxation with his free ‘Long Ambients 1: Calm. Sleep.’ download package.

PERTURBATOR James Kent - Photo David FittPERTURBATOR’s ‘The Uncanny Valley’ became a flag bearer for the synth wave movement, along with the acclaimed soundtrack by SURVIVE members Kyle Dixon and Michael Stein for the absorbing Netflix drama ‘Stranger Things’.

Less well-received though was ‘2Square’ by VINCE CLARKE & PAUL HARTNOLL with its banal experiments in electro swing.

This was a supposed new dance sub-genre that in reality was just computerised jazz… nice! But one artist who did manage to pull off fusing synthpop and jazz successfully was DISQO VOLANTE.

New material from veterans MESH, AESTHETIC PERFECTION, ASSEMBLAGE 23, DE/VISION, IAMX, COVENANT and ROTERSAND kept the black clad European audiences happy, while MARI KATTMAN and BLACK NEEDLE NOISE added some trip-hop and rock edges respectively to their already dark templates. Expressing slightly less intensity were two surprise packages in Germany’s DAS BLAUE PALAIS with ‘Welt Am Draht’ and Canada’s DELERIUM with ‘Mythologie’.

marc-almond-blueBut totally unexpected was ‘Silver City Ride’, a full length electro album from MARC ALMOND in collaboration with STARCLUSTER featuring his most synth laden body of work since SOFT CELL.

The biggest surprise of 2016 was ‘Fly’ the soundtrack souvenir to ‘Eddie The Eagle’, the light hearted biopic of the bespectacled Olympic ski jumper; featuring new material by members of FRANKIE GOES TO HOLLYWOOD, SOFT CELL, SPANDAU BALLET, ULTRAVOX, ERASURE and OMD in collaboration with TAKE THAT’s Gary Barlow, this looked like a terrible idea on paper.

But it was brilliantly executed and the resultant album was a largely enjoyable collection of retro flavoured pop.

Electronic acts actually got to headline the Glastonbury Festival in 2016, albeit on The Other Stage as opposed the main event; NEW ORDER and CHVRCHES wowed the crowds when they shared the bill on the Saturday night. There were rumours that KRAFTWERK and DEPECHE MODE might feature in 2017 but this was not to be, although both acts sent social media into overdrive when they announced major tours.

Among those accorded career spanning multi-disc boxed sets were ERASURE, MARC ALMOND, DEAD OR ALIVE and THE HUMAN LEAGUE. Somehow though, SIMPLE MINDS managed to milk a six disc variant of ‘New Gold Dream’ in the third of their classic album deluxe box editions; it was an amazing feat seeing as only ten songs were completed during the original sessions! The collection boasted no less than twelve takes of the aptly titled ‘Promised You A Miracle’; but the latest incarnation of the Glaswegians combo’ first big hit with KT TUNSTALL for their ‘Acoustic’ album proved to be one version too many.

Associates-dempsey-mackenzie-rankine-getty2Much better value for the money for the discerning music fan were the four ASSOCIATES double CD reissues, supervised by Alan Rankine and Michael Dempsey.

Based around their first three albums and a ‘Very Best Of’ compilation, each additionally featured a plethora of rare and previously unreleased songs; they were a fitting tribute to the late Billy MacKenzie.

Nostalgia was very much a part of 2016, with HEAVEN 17, OMD and PETER HOOK & THE LIGHT all touring popular albums. And following the success in recent years of retro festivals such as ‘Rewind’ and the strangely named ‘Let’s Rock’, classic synthpop finally found itself part of the holiday camp circuit.

Part of the Butlins Music Weekender series, ‘Electric Dreams’ featuring OMD, MARC ALMOND, HEAVEN 17, BLANCMANGE and HOLLY JOHNSON almost went badly off-piste with the addition of GO WEST and THE ZOMBIES (!?!) to the programme. But the organisers pulled an unexpected surprise and booked modern synth acts like MARSHEAUX and AVEC SANS to support the bill.

avec-sansHardened retro festival goers are notorious for not embracing new music, but this ethos has to be welcomed and could provide an interesting new model for the future of event based entertainment. However, based on photographic evidence, the presence of inflatable pink flamingos and coloured wigs indicated the crowd atmosphere might have been no different to any of the usual nostalgia outings, but with a roof and central heating added!

Elsewhere, the second ELECTRI-CITY CONFERENCE in Düsseldorf boasted yet another impressive line-up that read like a ‘Who’s Who?’ of electronic music with JOHN FOXX, DANIEL MILLER and MARK REEDER among those taking part in talks. One of the highlights of the weekend came with Mr Foxx chatting about working with the legendary Conny Plank.

And while MARSHEAUX, KID KASIO and RODNEY CROMWELL in Norwich was not in the same league, it was a fine showcase for the best in independent synthpop.

Both events proved again that the best electronic music events are those actually curated by electronic music enthusiasts, something that is not the case with several other events.

In all, 2016 was not a vintage year for electronic pop. If there was a lesson this year, it’s been to cherish and appreciate great life’s moments where possible, especially with the number of music figures that have been lost in the last 12 months.

Things cannot go on forever sadly…


ELECTRICITYCLUB.CO.UK Contributor Listings 2016

PAUL BODDY

Best Album: PERTURBATOR The Uncanny Valley
Best Song: SOULWAX Transient Program for Drums & Machinery
Best Gig: JEAN-MICHEL JARRE at London O2 Arena
Best Video: BATTLE TAPES featuring PARTY NAILS Solid Gold
Most Promising New Act: VOX LOW


IAN FERGUSON

Best Album: VILE ELECTRODES In The Shadows Of Monuments
Best Song: ASSEMBLAGE 23 Barren
Best Gig: ASSEMBLAGE 23 at Denver Oriental Theatre
Best Video: I AM SNOW ANGEL Losing Face
Most Promising New Act: VOX LOW


SIMON HELM

Best Album: ERIC RANDOM Words Made Flesh
Best Song: RATIONAL YOUTH This Side Of The Border
Best Gig: Troika! featuring KITE BASE, HANNAH PEEL + I SPEAK MACHINE at Shacklewell Arms
Best Video: I AM SNOW ANGEL Losing Face
Most Promising New Act: ZANIAS


CHI MING LAI

Best Album: VILLA NAH Ultima
Best Song: VILE ELECTRODES The Vanished Past
Best Gig: JEAN-MICHEL JARRE at London O2 Arena
Best Video: BEYOND THE WIZARD’S SLEEVE Diagram Girl
Most Promising New Act: ANI GLASS


STEPHEN ROPER

Best Album: MARSHEAUX Ath.Lon
Best Song: RODNEY CROMWELL Baby Robot
Best Gig: GARY NUMAN at Norwich UEA
Best Video: MARSHEAUX Like A Movie
Most Promising New Act: DISQO VOLANTE


MONIKA IZABELA TRIGWELL

Best Album: APOPTYGMA BERZERK Exit Popularity Contest
Best Song: KID KASIO Full Moon Blue
Best Gig: SPEAK & SPELL at Islington Academy
Best Video: BLACK NEEDLE NOISE featuring JENNIE VEE Heaven
Most Promising New Act: JOHAN BAECKSTRÖM


Text by Chi Ming Lai
17th December 2016

ARCTIC SUNRISE When Traces End

Citing influences from DEPECHE MODE, ULTRAVOX, HEAVEN 17, VISAGE, BLANCMANGE and other gems of the electronica era, Germany’s ARCTIC SUNRISE are Torsten Verlinden on vocals and Steve Baltes in charge of production.

Having accomplished one album ‘A Smarter Enemy’ already plus a few EPs, the duo have already established themselves within the followers of synthpop beats, especially within the devoted fans of DE/VISION, due to the obvious sound similarities between the bands.

Indeed, taking the contemporary approach to otherwise classic elements of synth play, Baltes is capable of creating a decent collection of tunes. ‘When Traces End’ follows its predecessor with a bunch of elaborate sound manipulations, and the inclusion of few dance numbers further enriches the outing.

Although the unavoidable DE/VISION comparison cannot be ignored, specifically on ‘Tell The Truth’ or ‘Forever Yours’; the former reminiscent of Keth/Adam’s works on ‘Two’, it has to be said that both songs carry a powerful concoction of atmosphere and clever treatment of sound.

‘Let It Rain’ provides further connection to the D/V boys, with the exception of enhanced vocal techniques, while ‘Changing’ is deliciously synth laden with a perfect bass line. The title track evokes positive emotions thanks to ERASURE-esque background noises, wrapped around irresistible sound treatments and fresh vocals by Verlinden.

‘Silent Tears’ is a mix of vintage SIMPLE MINDS and THE CURE, with a pinch of grunge-laced tonality on the lead vocal. The foundation for the track is built on Roland System 100M arpeggios with bass guitar played by Verlinden himself. The slower paced ‘Mine Forever’ shines with simplicity of the production and ‘Over Me’, sounding like the works of AND ONE, only a bit dirtier, is wholesome and polished.

The closing ‘Your Eyes’ wraps up the release with classic HUMAN LEAGUE sound effects combined with those modern noises made by APOPTYGMA BERZERK on their latest long player. All that, plus poignant lyrics and a complex musicality, add up to the most notable track on the opus.

Even with the very obvious influences from their countrymen DE/VISION, ARCTIC SUNRISE definitely have a lot of potential to shine in their own light. The second album syndrome doesn’t apply here and the duo certainly did their homework.

It is clear that the LP was recorded with the help of many a vintage synthesiser and drum machine, and Baltes isn’t a stranger to capable productions.

‘When Traces End’ is an accomplished body of work, worth a repeat listen.


‘When Traces End’ is released by Echozone in CD and digital formats

https://www.facebook.com/wearearcticsunrise/

http://www.echozone.de


Text by Monika Izabela Trigwell with thanks to Simon Worboys
30th October 2016

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