Tag: Fotonovela (Page 2 of 5)

25 FAVOURITE ITALO DISCO TRACKS

The recent documentary ‘Italo Disco Legacy’ and its accompanying soundtrack allowed a much maligned if cultishly celebrated form of electronic pop to be artistically re-evaluated.

Arguably pioneered by Italian producer Giorgio Moroder via his various projects using the then-new sequencer technology, Italo Disco coincided with the growing use of synthesizers, vocoders and drum machines within dance music and became a distinct sub-genre with its own electro heart.

Despite its name, Italo Disco was not strictly a native affair; the form became a stylistic phenomenon in territories such as Spain, Greece and France, parts of the USA such as New York and Los Angeles, Sweden and Germany.

In fact, it was the German record label ZYX Music who coined the term “Italo Disco” and were particularly key in taking the music out of Italy, leading it to become a rogue gene in House music before eventually mutating into Eurodance.

One of the countries not to truly embrace Italo Disco was the UK where club audiences preferred the more soulful adrenalin rush of HI-NRG. However, it literally came in through the back door when it was a key influence in the music of PET SHOP BOYS and NEW ORDER, particularly in their use of very Eurocentric octave shift basslines and easy-to-dance-to beats.

Highlighting the British hypocrisy of only accepting Italo Disco provided it was fronted by the aloof cool of a Neil Tennant or a Bernard Sumner, in a 1986 issue of Record Mirror discussing PET SHOP BOYS’ ‘Suburbia’, the reviewer confessed: “Despite the fact that I love the PET SHOP BOYS as much as I loathe MODERN TALKING, I have to admit that musically, they’re not that different!”

One key aspect of Italo Disco was that the majority of its artists used very English names in an attempt to hide their origins. However, the charming accents often captured an amusing vocal detachment while the frequent “woah-oh” refrains, abundance of catchy melodies and timing mistakes also contributed to its escapist appeal.

Italo Disco went global with Laura Branigan whose two biggest hits ‘Gloria’ and ‘Self Control’ were covers of Italian artists Umberto Tozzi and Raf respectively, while Samantha Fox and Sabrina were two of the more noticeable figures in pop who used it as a springboard for their own high profile careers.

Providing the soundtrack to many a Mediterranean summer holiday, the zenith of Italo Disco’s ubiquity (and some would say banality) was probably Baltimora’s ‘Tarzan Boy’, the worldwide hit fronted by the late Northern Irish model Jimmy McShane, although the lead vocals were performed by one Maurizio Bassi in a practice that was exploited frequently by the sub-genre’s producers.

Longevity was very rare in Italo Disco, so its history is represented more by a number of great records rather than great artists, although several such as Fancy, Savage, Bobby O and Ryan PAaris have entered into music folklore.

Latterly, Anglo-Argentine duo HEARTBREAK revived the form with a much harder sound and KNIGHT$ has added his own Home Counties take on the form labelled as “Britalo”. Meanwhile Italo Disco’s continuing influence can be heard within most types of modern electronic music including synthwave.

In these darker, more turbulent times, the sunnier disposition of Italo Disco is just what the Doctor Rhythm ordered. So here are 25 nominally Italo Disco flavoured tracks which have brought a smile to ELECTRICITYCLUB.CO.UK’s face. With a restriction of one track per artist in chronological and then alphabetical order, this list is likely to upset purists… 😉


KLEIN & MBO Dirty Talk (1982)

KLEIN & MBO were formed by Italian producer Mario Boncaldo and American arranger Tony Carrasco. Like a blueprint of early house music, their rhythmically hypnotic neo-instrumental ‘Dirty Talk’ with its orgasmic vocal interludes by jazz singer Rossana Casale proved to be a big influence on NEW ORDER for ‘Blue Monday’. Meanwhile Miss Kittin & The Hacker covered it in 1998.

Available on the KLEIN & MBO single ‘Dirty Talk’ via Tirk Recordings

https://www.facebook.com/KleinMbo-90283074783/


BOBBY O I’m So Hot For You (1982)

Bobby Orlando is credited as one of the founding fathers of Hi-NRG dance music thanks to his work with Divine, but operating at a more disco friendly 122BPM, ‘I’m So Hot For You’ was ‘Don’t You Want Me?’ taken on a New York subway ride with its rolling bass lines and Latin beats. The track was later sampled in 2003 for ‘Da Hype’ by Junior Jack.

Available on the BOBBY O album ‘The Best Of’ via High Fashion

http://www.bobby-orlando.de


THE FLIRTS Passion (1982)

THE FLIRTS were an interchangeable girl trio of one redhead, one blonde and one brunette under the control of Bobby Orlando, whereby those who did the personal appearances had no relation to those who had sang on the tracks. ‘Passion’ was a favourite of PET SHOP BOYS that it was the inspiration for ‘In The Night’ while FELIX DA HOUSECAT ripped it off for ‘Silver Screen – Shower Scene’.

Available on THE FLIRTS album ’10 Cents For A Dance’ via High Fashion

http://www.theflirtsband.com


GINO SOCCIO Remember (1982)

A Canadian disco producer of Italian heritage, Gino Soccio’s finest moment came with ‘Remember’, a pulsating sequencer assisted number featuring some vocoder augmentation and the sexy nonchalant voice of Marie-Line Vasseur over a fabulously retro-futuristic string machine. Ahead of its time, this was a forerunner of what was to emerge as Electroclash.

Available on the GINO SOCCIO album ‘Face To Face’ via Rhino Atlantic

https://www.discogs.com/artist/75922-Gino-Soccio


CHARLIE Spacer Woman (1983)

A project helmed by Maurizio Cavalieri who had been a member of the Italian group FIREFLY and co-written with Giorgio Stefani, ‘Spacer Woman’ featured a mysterious Gina X styled lead vocal over some electro break beats that unlike other Italo Disco recordings, used more colder synth sounds that were more associated with UK acts like THE HUMAN LEAGUE.

Available on the CHARLIE single ‘Spacer Woman’ via Mr Disc

https://www.discogs.com/artist/15971-Charlie


COREY HART Sunglasses At Night (1983)

Canadian Corey Hart is best known for ‘Sunglasses at Night’, a catchy tune with its characteristic synth arpeggio, rock guitar and cryptic lyrics apparently inspired by the studio personnel wearing sunglasses protect their eyes from the air conditioning positioned above the control desk! The song was covered in an Electroclash vein in 2001 by Tiga & Zyntherius.

Available on the COREY HART album ‘The Singles’ via EMI Music

http://www.coreyhart.com


MR FLAGIO Take A Chance (1983)

The project of Italian duo Flavio Vidulich and Giorgio Bacco (hence the moniker), the futuristic robotic vocoder opera of ‘Take A Chance’ had a subtle tinny banality that made it extremely appealing. PET SHOP BOYS borrowed its feel for the early B-side ‘A Man Could Get Arrested’ while it use of minimal rhythmic guitar and sequencers clearly had an effect on NEW ORDER’s Bernard Sumner.

Available on the MR FLAGIO single ‘Take A Chance’ via The Saifam Group

https://www.discogs.com/artist/15976-Mr-Flagio


IVAN Fotonovela (1984)

Ivan was the stage name of Spaniard Juan Carlos Ramos Vaquero and he naturally found a home for his music in Spanish speaking territories like Mexico, Colombia, Ecuador and Chile. The sunny octave vibe of ‘Fotonovela’ with its bells, strings and accordions was to be his greatest moment; indeed the Greek production duo who produce MARSHEAUX are named after this song.

Available on the IVAN album ‘Lo Mejor De’ via Sony Music

https://www.discogs.com/artist/81599-Ivan-4


P.LION Happy Children (1983)

Italian musician and singer Pietro Paolo Pelandi named himself P.Lion thanks to only having Ps in his name while with his aristocratic background, his family coat of arms was a lion. The optimistic synth brass laden ‘Happy Children’ was to be his biggest song, becoming popular in France and later in the colder climes of Sweden where Italo Disco was to find an unexpected audience.

Available on the P.LION single ‘Happy Children’ via Nocolors

http://www.plionproject.com/English/New_Release.html


ALEXANDER ROBOTNICK Problèmes D’amour (1983)

Born Maurizio Dami, the Italian electronic musician was a founder member of the quirky art cabaret trio named AVIDA. ‘Problèmes D’amour’ with its clattering drum machine, swirling analogue synths and cutesy female voiced counterpoints found a cult audience. Later working in soundtracks and world music, Dami continues making electronic dance music in the present day.

Available on the ALEXANDER ROBOTNICK single ‘Problèmes D’Amour’ via Materiali Sonori

https://www.alexander-robotnick.it


RYAN PARIS La Dolce Vita (1983)

While his real name was Fabio Roscioli, his huge hit ‘La Dolce Vita’ was written and produced for him by Pierluigi Giombini, who not only wrote songs exclusively in English but was keen to move the established Italian singer away from rock. Paris recently returned to the spotlight with ‘Love On Ice’ in collaboration with Johan Agebjorn and Sally Shapiro, a song from the soundtrack for the Swedish thriller ‘Videomannen’.

Available on the RYAN PARIS album ‘The Best Of’ via Dvmor

http://www.ryan-paris.com


SAVAGE Don’t Cry Tonight (1983)

Despite having a long music career which continues to this day, Tuscan native Roberto Zanetti is still best known for debut single ‘Don’t Cry Tonight’, a moody slice of disco lento that was hugely successful across Europe. One notable fan was Chris Lowe, who used the song to open his playlist in PET SHOP BOYS ‘Back To Mine’ mixtape collection in 2005.

Available on the SAVAGE album ‘Don’t Cry – Greatest Hits’ via ZYX Music

http://www.savage-music.it


VALERIE DORE Get Closer (1984)

The alluring tones of Valerie Dore were masterminded by producer Roberto Gasparini and fronted by Monica Stucchi who lip-synched on public appearances to the vocals of Dora Carofiglio on the first two hits ‘The Night’ and ‘Get Closer’. Stucchi herself voiced her recordings after 1986 and continues performing as Valerie. Meanwhile ‘Get Closer’ itself was covered by Marc Almond with STARCLUSTER in 2016.

Available on the VALERIE DORE album ‘The Best Of’ via ZYX Music

http://www.valeriedore.it


FANCY Slice Me Nice (1984)

Under the stage name of Fancy, Manfred Alois Segieth cut a striking androgynous figure within Italo Disco, scoring an international hit with the extremely saucy ‘Slice Me Nice’. The German born Spaniard even made headway in the US Billboard Dance Charts in 1985 with ‘Chinese Eyes’ and ‘Come Inside’, while ‘Bolero’ hit the top spot in Spain.

Available on the FANCY album ‘The Original Maxi-Singles Collection’ via Pokorny Music Solutions

http://fancy-online.com


OP.8 Butterfly (1984)

Originally released on Milan’s Discomagic Records, ‘Butterfly’ was Moroder influenced Italo Disco with an oriental flavour and a catchy refrain derived from Puccini. It’s so obscure that there is virtually no information about it, although it was written by Ronald Hanson, Michele D’Alessandro and Massimo Parretti while progammed by Piero Cairo. ZYX Music dug it out for a compilation in 2010.

Available on the OP.8 single ‘Butterfly’ via ZYX Music

https://www.zyxmusic.com/


RAF Black & Blue (1984)

Raffaele Riefoli actually lived in London before starting out his musical career. He scored a domestic hit with his co-write ‘Self Control’, but hit paydirt when it was covered by Laura Branigan. ‘Black & Blue’ was one of the highlights from his debut album which featured all the then-modern technological trimmings which wouldn’t have sounded out of place on PET SHOP BOYS’ Spaghetti Records imprint.

Available on the RAF album ‘Self Control’ via East West Italy

http://www.raf.it


CLIO Faces (1985)

The vehicle of Italian singer Maria Chiara Perugini, the sophisticated and stylish aura of Clio’s ‘Faces’ was written and produced by Roberto Ferrante who later founded Planet Records. With its pretty colourful melodies and punchy rhythms, it could have been mistaken for early Madonna. The track was covered by Canadian synth duo ELECTRIC YOUTH in 2011.

Available on the compilation album ’80’s Dance Story Original Italo Hits’ (V/A) via Hot Hits

https://www.discogs.com/artist/154990-Clio


BRIAN ICE Talking To The Night (1985)

Singer and actor Fabrizio Rizzolo was the man behind the ice and ‘Talking To The Night’ was apparently composed and written in just a few minutes, using just about every Italo Disco cliché in the book, especially with its “woah-oh” vocals. A limited edition 12 inch issued on ZYX Music played from the label outwards! He later co-wrote ‘Never Be Lonely’ for Gloria Gaynor and continues a successful career in Italian TV.

Available on the BRIAN ICE album ‘Greatest Hits & Remixes’ via ZYX Music

http://www.fabriziorizzolo.it


GRANT MILLER Colder Than Ice (1985)

Sensing he could achieve another massive hit if the song had an extremely handsome frontman, Fancy made the idea reality when Indiana-born model Grant Miller-Benton was introduced to him by DIVINE. Produced by Fancy under his Tess Teiges moniker, Miller scored a debut hit in Germany when it was released by ZYX Music.

Available on the GRANT MILLER album ‘The Maxi-Singles Hit Collection’ via ZYX Music

http://grant-miller.blogspot.co.uk


CC CATCH Cause You Are Young (1986)

Caroline Catharina Müller was a German domiciled Dutch pop singer who was a member of the girl group OPTIMAL. Spotted by Dieter Bohlen of MODERN TALKING, he signed her to Hansa Records and launched her solo career. A breathy vocal and an enticing lead synth line plus a fabulous catchy chorus laced with orchestra stabs ensured that ‘Cause You Are Young’ was a big European hit.

Available on the CC CATCH album ‘The 80’s Album’ via Edel Records

http://www.cccatch.de


EDDY HUNTINGTON USSR (1986)

Hailing from Peterlee in County Durham, Cliff Richard fan and model Edward Huntington sought fame and fortune as a pop singer in Italy. Discovered by Baby Records, they took him to Milan to record the catchy ‘USSR’, written by the same production team behind Den Harrow. Released in the rest of Europe by ZYX Music, the song unexpectedly became a hit in the Soviet Union.

Available on the EDDY HUNTINGTON album ‘Bang Bang Baby’ via Baby Records International

https://www.facebook.com/Eddy-Huntington-Italo-Disco-138800969576918/


MODERN TALKING Cheri Cheri Lady (1986)

Comprising of ridiculously tanned singer Thomas Anders and musician Dieter Bohlen, MODERN TALKING’s overtly catchy melodic tunes like ‘Cheri Cheri Lady’ and ‘Brother Louie’ ensured they were simultaneously the most successful and most hated pop duo in West Germany. Bohlen later gained notoriety as a judge on ‘Deutschland Sucht Den Superstar’, as Germany’s answer to Simon Cowell.

Available on the MODERN TALKING album ‘The Very Best Of’ via Sony Music

http://www.modern-talking-online.de


PAUL REIN Lady-O (1986)

Sweden’s Paul Rein was their home grown Italo Disco star and ‘Lady-O’ showed that cold weather and dark nights was no barrier to producing upbeat electronic dance music. He has since continued a career as a songwriter for artists like Christina Aguilera, Jessica Simpson and Mandy Moore, but perhaps as a reaction to his fame, his daughter Joanna is now making waves in EBM, having opened for DAF in 2016!

Available on the PAUL REIN album ‘Communicate’ via 22:22 Music

https://www.discogs.com/artist/116266-Paul-Rein


FRED VENTURA Wind Of Change (1986)

Federico Di Bonaventura began his music career with a 4 track cassette machine, a Roland Juno 60, an Oberheim DX and a passion for NEW ORDER. ‘Winds of Change’ was a rousing Italo Disco track with cowbells and big digital drums. He continues making music today with Paolo Gozzetti as ITALOCONNECTION who have remixed THE HUMAN LEAGUE, HURTS and KNIGHT$ amongst others.

Available on the FRED VENTURA album ‘Disco Modernism (1983 – 2008)’ via Clone Classic Cuts

https://www.facebook.com/italoconnection/


DEN HARROW Don’t Break My Heart (1987)

A play on the Italian word “denaro” meaning money, this project was the brainchild of producers Miki Chieregato and Roberto Turatti. Fronted by fashion model Stefano Zandri, it was American singer Tom Hooker who provided the voice on ‘Don’t Break My Heart’. Despite Zandri admitting in 2012 that he did not sing on any of the records, he continues to appear as Den Harrow after taking singing lessons.

Available on the DEN HARROW album ‘I Miei Successi’ via DV Digital

http://www.denharrow.it


‘Italo Be Thy Name’, a Spotify Playlist compiled by ELECTRICITYCLUB.CO.UK of over 100 related tracks and much more can be listened to at: https://open.spotify.com/user/theelectricityclub/playlist/3uUHPnMSOsUegDSnnFr7Fn

The ‘Italo Disco Legacy’ soundtrack is released by Private Records as a 2LP + DVD package, available from https://www.juno.co.uk/products/italo-disco-legacy-soundtrack/672465-01/

https://www.facebook.com/ItaloDiscoLegacy/

http://www.italo-interviews.com/


Text by Chi Ming Lai with thanks to Grit Cheraka and Viola Anastasia
12th May 2018

A Beginner’s Guide to MARSHEAUX

MARSHEAUX_U5A3895

Originally from Thessaloniki, Marianthi Melitsi and Sophie Sarigiannidou moved to Athens and came together to further their appreciation of electronic pop music.

Brought up to the sound of the synthesizer and learning to dance to the beat of electronic drums, they lived on a healthy diet of DEPECHE MODE, HUMAN LEAGUE, OMD, SPARKS, SOFT CELL, DURAN DURAN and NEW ORDER.

With the moniker derived from the first syllable of the Greek pronunciation of the girls’ first names, the first MARSHEAUX release was a cover of the early synthpop classic ‘Popcorn’ which emerged on the ‘Nu-Romantix’ electro compilation in 2003.

MARSHEAUX’s irresistible mix of classic pop hooks and digi-analogue synthesis has seen the duo play prestigious support slots for OMD, ROISIN MURPHY, CLIENT and 30 SECONDS TO MARS… the latter’s frontman Jared Leto is a big fan of Marianthi and Sophie!

As well as recording original material on Undo Records, MARSHEAUX have done numerous cover versions and remixed for other artists including DEPECHE MODE, KATY PERRY, THE HUMAN LEAGUE, OMD, MOBY, MYLÈNE FARMER, MESH, MIRRORS and ANDY BELL.

While popular amongst synthpop fans the world over, MARSHEAUX are still comparatively unknown outside of the cognoscenti. With a restriction of one track per project, this Beginner’s Guide acts as an introduction to the varied portfolio of the Athens based synth maidens from 2003 to the present day…


MARSHEAUX Computer Love (2004)

MARSHEAUXebayQueenKUCD001Of their beginnings, MARSHEAUX said in 2012: “we always thought that we would sound like ERASURE or YAZOO melodically, we would be romantic like OMD, have the aesthetics like PET SHOP BOYS and be clever like SPARKS”. While ‘E-Bay Queen’ is a fairly typical debut album with tracks showing promise rather than being outright classics, the bouncy ‘Computer Love’ largely still remains in the MARSHEAUX live set with its feminised vocoder taking centre stage.

Available on the MARSHEAUX album ‘E-Bay Queen’ via Undo Records


MARSHEAUX Dream Of A Disco (2006)

MARSHEAUX_PeekaBooIs a cover or is it Memorex? This interpolation of ‘Space Age Love Song’ by A FLOCK OF SEAGULLS provided MARSHEAUX with their most immediate number yet and the parent album ‘Peek-A-Boo’ saw the ‘E-Bay Queen’ reach adulthood. One of the marketing masterstrokes came with the packaging which included a paper bag ghost mask. Purchasers of the CD wore the bag, took pictures and sent them to the girls… around 3,500 pictures were gathered. Its success secured a wider distribution deal for Undo Records with EMI Greece.

Available on the MARSHEAUX album ‘Peek-A-Boo’ via Undo Records


MARSHEAUX Fischerprice (2007)

Undo LM.End_1The ironically titled ‘Fischerprice’ was written in response to music critics who had considered MARSHEAUX’s brand of synthpop to be childish and made with toys! Although the track was more of a studio experiment and unlikely to win any songwriters awards, it was good fun. It initially appeared on a CD compiled by Undo Records that was given away free with domestic music magazine ‘Pop+Rock’ in Spring 2007, alongside tracks by FOTONOVELA, NIKONN, IT95, ESTE and TECH SOIR.

Available on the MARSHEAUX album ‘E-Bay Queen Is Dead’ via Undo Records


MARSHEAUX Ghost (2008)

An art piece in the MARSHEAUX catalogue, ‘Ghost’ was initially an exclusive 7″ vinyl release that came in special award winning glow-in-the-dark outer cover! Coupled with the NEW ORDER inspired ‘Bizarre Love Duo’, the pairing of songs harked back to the early days of Factory Records where singles were not included on albums and acted as standalone platforms of artistic progress. However, pressure from their German label Out Of Line led to ‘Ghost’ being included on that edition of ‘Lumineux Noir’.

Available on the MARSHEAUX album ‘Odyssey’ via Les Disques du Crépuscule


FOTONOVELA featuring MARSHEAUX So Strange (2008)

MARSHEAUX’s production team FOTONOVELA had an acute understanding of the dancefloor which ensured their own debut album was filled with enticing electronic grooves. Perhaps a little less song orientated than MARSHEAUX’s usual template, Marianthi added her sexy accented touch to the excellent ‘So Strange’. With a ‘Madame Hollywood’ styled analogue pulse, some superb vibrato synth sent chills before the magnificent climax of a magnificent screaming ARP Odyssey based solo.

Available on the FOTONOVELA album ‘Mistakes Are Good’ via Undo Records


MARSHEAUX Exit (2009)

‘Lumineux Noir’ was a wondrous body of work where MARSHEAUX’s wispy synthpop went up several notches. It led some observers to cite MARSHEAUX as the female DEPECHE MODE. Indeed, released at the same time as the Basildon Boys’ lame ‘Sounds Of The Universe’, ‘Lumineux Noir’ was far superior too. ‘Breakthrough’ and ‘Radial Emotion’ put them with LADYTRON and LITTLE BOOTS respectively, while the tense drama of ‘Exit’ was possibly one of the best songs DEPECHE MODE never recorded.

Available on the MARSHEAUX album ‘Lumineux Noir’ via Undo Records


TAREQ featuring MARSHEAUX Playboy (2010)

TAREQ CocoonGreco Jordanian Tareq Souleiman was previously the lead singer of TECH SOIR and his vocal timbres made him electro’s answer to INXS’ Michael Hutchence, as his cover of ‘Need You Tonight’ proved. Part of the Undo stable, collaboration with MARSHEAUX was inevitable. While Marianthi and Sophie remixed ‘Mosquito’, the best track on TAREQ’s debut album, he covered ‘Playboy’ from ‘E-Bay Queen’ in a more club-focused style and roped in the girls to sing on it too.

Available on the TAREQ album ‘Cocoon’ via Undo Records


MARSHEAUX Eyes Without A Face (2011)

marsheaux ebay queen is deadMARSHEAUX are known for their charmingly delightful covers which have included Synth Britannia staples such as ‘New Life’ and ‘Empire State human’. Originally part of a Buffet Libre covers compilation ‘Peace’ in aid of Warchild, they took BILLY IDOL’s ‘Eyes Without A Face’ into elegant synthpop territory away from its MTV friendly new wave roots. The “Les yeux sans visage” refrain was suitably seductive, while the lead vocals were more sophisticated compared with the former William Broad’s pub singer antics.

Available on the MARSHEAUX album ‘E-Bay Queen Is Dead’ via Undo Records


ROLLA SCAPE featuring MARSHEAUX Heaven Is Real (2011)

Rolla_Scape_st__CoverMARSHEAUX found themselves in funky disco mode on this guest appearance with Constantinos Barbopoulos aka ROLLA SCAPE, an Australian electronic musician based in Athens. While the wispy vocal tones of Marianthi Melitsi were unmistakable, the repetitive and sparse dance flavour of ‘Heaven Is Real’, augmented by rhythm guitar, was quite unlike anything else in the MARSHEAUX catalogue and an enjoyable diversion away from their more obvious synthpop template.

Available on the ROLLA SCAPE album ‘Rolla Scape’ via Undo Records


MARSHEAUX Do You Feel? (2012)

E-Bay-Queen-Is-Dead-marianthiThe interim rarities collection ‘E-Bay Queen Is Dead’ gathered covers and unreleased tracks from the MARSHEAUX archives. Although the artwork paid tribute to THE SMITHS’ ‘The Queen Is Dead’, the concept probably had more in common with the Manchester foursome’s ‘Hatful Of Hollow’. ‘Do You Feel?’ had been recorded for their fourth album ‘Inhale’, but was ultimately not included and revealed the high standards of MARSHEAUX’s output, even when it was passed over.

Available on the MARSHEAUX album ‘E-Bay Queen Is Dead’ via Undo Records


SAORI YUKI Yoake No Scat – Marsheaux remix (2012)

MARSHEAUX added to their vast remix portfolio with a terrific reworking of a track dating back to 1969 by veteran Japanese classic singer SAORI YUKI. Adding infectious melodic synth hooks and melancholic washes of sound to the more organic re-recording with PINK MARTINI from 2011, this brought Kayokyoku, a style of Japanese music that absorbed various Western styles like jazz and lounge, into the electro age with a ‘Melody For a New Dawn’.

Available on the SAORI YUKI single ‘Yoake No Scat’ via EMI Japan


MARSHEAUX When We Were Young (2012)

marsheaux when we were youngAn Anglo-German collective of creative minds from various artistic fields, TWINS NATALIA’s debut single ‘When We Were Young’ was declared by MARSHEAUX to be their favourite song of 2008. So the two parties got together for a special split ‘AA’ sided 7 inch single. Marianthi and Sophie sweetly covered ‘When We Were Young’ while in reciprocation, TWINS NATALIA added a more Teutonic demeanour and fiercer euro-rhythmics to their take on ‘Radial Emotion’ from ‘Lumineux Noir’.

Available on the MARSHEAUX / TWINS NATALIA single ‘When We Were Young’ / ‘Radial Emotion’ via Undo Records / Anna Logue Records


MARSHEAUX Come On Now (2013)

MARSHEAUX’s fourth long player ‘Inhale’ had been a long time coming. And when it appeared, the Greek financial crisis had obviously loomed heavy over its making, resulting in more moodier, mid-tempo numbers taking centre stage. However, the feisty ‘Come On Now’ was as an enjoyable, fully realised cousin of BLONDIE’s ‘Call Me’ that was the most immediate song on the album. By now, MARSHEAUX had become Undo Records’ most prized asset, and ‘Inhale’ became the label’s biggest seller to date.

Available on the MARSHEAUX album ‘Inhale’ via Undo Records


FOTONOVELA featuring MARSHEAUX Close To Me (2013)

A new FOTONOVELA album would not have been complete without the voices of MARSHEAUX given how the two parties are joined at the hip. While one of the two featured tracks ‘Big Black Hole’ didn’t veer too far from the usual MARSHEAUX formula, ‘Close To Me’ delivered some enigmatic pop in a surprisingly higher register than Marianthi and Sophie had reached before, recalling SANDRA’s ‘Maria Magdalena’. The excellent album also featured James New, Sarah Blackwood and Bethany Cassidy.

Available on the FOTONOVELA album ‘A Ton Of Love’ via Undo Records


MARSHEAUX Full Attack (2014)

Appropriately, MARSHEAUX’s career compilation ‘Odyssey’ traced their decade long journey between 2004 to 2014. Released on the prestigious Les Disques Du Crépuscule label and compiled by James Nice, ‘Odyssey’ included a previously unissued song ‘Full Attack’ which was held together by a percussive barrage that had not been present in the girls’ work previously. “‘Full Attack’ is about people that use and manipulate others, and keep doing it till there is nothing left” they said.

Available on the MARSHEAUX album ‘Odyssey’ via Les Disques du Crépuscule


MARSHEAUX My Secret Garden – Extended version (2015)

marsheaux_a_broken_frame_LPHaving previously recorded ‘New Life’ for the ‘Around The World & Back: A Greek Tribute To Depeche Mode’ album released on Undo, a project covering the whole of ‘A Broken Frame’ was not entirely surprising. The stand-out track ‘My Secret Garden’ contained brilliant drum patterns and a fresh approach to the signature DM sounds. The tune came over as a LADYTRON-like extravaganza, filled with a sex appeal and sensuality that was quite unlike the original. The extended version was even better!

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


MARSHEAUX Burning (2016)

Marsheaux-Ath.Lon_Cover1500Recorded in London and Athens, a new approach saw MARSHEAUX’s trademark wispiness blended in with a subtle tone of aggression. The opening song on their fifth album proper ‘Burning’ was a harsh, sexy and in your face, with clear references to darker electronica forms while still maintaining the essence of a good tune. The soft voices mesmerised within the heavier synth havoc and looming percussive mantras.

Available on the MARSHEAUX album ‘Ath.Lon’ via Undo Records


MARSHEAUX Suffer The Children (2016)

A cover of TEARS FOR FEARS’ first single ‘Suffer the Children’, it was a song written by Roland Orzabal that reflected the Bath duo’s interests in Arthur Janov’s Primal Scream therapy to deal with the traumas of childhood. The mood of the innocent childlike vocal refrain in the bridge of the original was maintained throughout MARSHEAUX’s version. The contrast of a wispy female lead vocal paradoxically added extra resonance to the weighty poetry of ‘Suffer The Children’.

Available on the MARSHEAUX digital single ‘Suffer The Children’ via Undo Records


MARSHEAUX play Epic Studios, 114 Magdalen Street, Norwich, Norfolk NR3 1JD on SATURDAY 5TH NOVEMBER 2016 – also appearing will be KID KASIO + RODNEY CROMWELL

http://www.marsheaux.com/

http://www.undorecords.com/


Text by Chi Ming Lai
8th September 2016, updated 9th February 2021

MARSHEAUX Ath.Lon

Marsheaux-Ath.Lon_Cover1500A fair few years have passed since Marsheaux debuted with ‘Popcorn’ in their native Greece.

Marianthi Melitsi and Sophie Sarigiannidou had been bred on the staple diet of all the correct electronic acts of the synth dominated age: DEPECHE MODE, ERASURE, THE HUMAN LEAGUE, OMD and NEW ORDER being firm favourites.

2004 heralded their first album, ‘E-Bay Queen’ on Undo Records, which was duly noted in the “we love anything synth” circles across Europe.

It was followed by ‘Peek A Boo’, which included the magnificent take on New Order’s ‘Regret’. It wasn’t until the third LP, ‘Lumineux Noir’, that the duo got a widespread recognition, leading to festival appearances and securing valuable support slots as well as remixing many of their genre’s peers.

‘Inhale’ was what the Greek songstresses described as “atmospheric electro pop”, and 2015 brought their most daring project yet, a cover of the entire of ‘A Broken Frame’ by DEPECHE MODE. Courageous as it was, the pair managed to grasp the soul of the most unloved DM album and transform it into a new dimension of unconventional sounds and vocals.
And now comes ‘Ath.Lon’.

MARSHEAUX_U5A3528

The opus’ title, as obscure as it may sound, actually derives from the names of two cities: Athens and London. Both capitals served as a core for MARSHEAUX ‘s new material, with Marianthi moving to London, forcing journeys between England and Greece. The ten tracks were produced by MARSHEAUX themselves, with Undo house production duo FOTONOVELA and Rodrigo Silva-Ramos, while mixed in London by Nikonn and Dominique Brethes at FloW Mastering.

The opening ‘Burning’ is harsh, sexy, in your face, and with clear Numan influences. The soft voices mesmerise beyond control, weaving in between the heavy synth havoc, leading onto ‘Like A Movie’; a classic, cheerfully uncomplicated synth pop tune with a Motorik backbone, modelled on early DEPECHE MODE.

‘Sunday’ steps in with demure vocals over a slower paced track. The excellently layered sounds float above the clouds of regal electronica, before the classic sounding ‘Wild Heart’ enters, with NEW ORDER-esque guitar added to a piece SAINT ETIENNE wouldn’t be ashamed of. ‘Now You Are Mine’ superbly towers above the rest, with confident vocals, packaged within a dose of ‘Ultra’ era DEPECHE MODE, while ‘Strong Enough’ is an effervescent amalgamation of sassy, crunchy and capable synth, laced with the signature sexy rendition from Sophie and Marianthi.

MARSHEAUX_U5A3895

The first single heralding ‘Ath.Lon’ is ‘Safe Tonight’. This light-hearted nod to classic synth is optimistic, sunny and warm. The superb production bursts into being with this subdued, yet powerful number. ‘Let’s Take A Car’ brings the tempo to “fast is best” again, where the girls want to “mess around all night”, driving around the city and making “a fuss… so madly in love”. It’s yet another untroubled track reminiscent of the best early electronica.

The closing ‘The Beginning Of The End’ ominously wraps around the production with excellent tonality and superb vocals. MARSHEAUX really leave the best till last here; including astonishing strings, marvellous synth and the atmosphere of uncertainty and despair, this can only equal an evocative synth track which the audiences have grown to expect from the proficient Greek Goddesses.

If the above wasn’t enough, MARSHEAUX have treated the grateful receiver to five additional tracks as a bonus. iTunes exclusive ‘Butterflies’ flutters with classic Sophie / Marianthi hooks while from ‘The.Ath.Lon’ boxed set, ‘Happiness’ glows with Greek sunshine, while the tempo slows down with ‘How Beautiful’ and ‘Stay Wild’; the latter laced with excellent synthscapes. A faster pace returns to wrap up the gift with ‘Treasure’, which is bursting with zest and freshness, leaving the listener wishing there was more to come.

Limited_CDUN62_AthLon-1The obvious success of ‘A Broken Frame’ seems to have elevated the duo to the comfort of having the ability to look into the future through a lens of optimism and new found confidence.

‘Ath.Lon’ could also stand for “athlos”, meaning achievement for the pair, with this glorious production crowning their twelve years’ of accomplishments.

MARSHEAUX do not disappoint, bringing the ever fresh, uncomplicated and honest material, whilst remaining unassuming and true to themselves. It’s another triumph.


‘Ath.Lon’ is released by Undo Records in CD, vinyl and download formats, iTunes version contains the additional track ‘Butterflies’

‘The.Ath.Lon’ limited 2CD box set with four bonus tracks and 14 art prints is available from:
http://undorecords.bigcartel.com/product/limited-cdun62-marsheaux-ath-lon-2cd-box

http://www.marsheaux.com/

https://www.facebook.com/marsheaux/

https://twitter.com/marsheaux

http://www.undorecords.com/

https://www.instagram.com/marsheaux/


Text by Monika Izabela Goss
13th June 2016

MARSHEAUX Safe Tonight

MARSHEAUX SafeTonight_CDFollowing the huge success of their DEPECHE MODE covers album ‘A Broken Frame’ in 2015, MARSHEAUX make their highly anticipated return with their first self-penned material since 2013’s ‘Inhale’.

Sunny but succinct, Marianthi Melitsi and Sophie Sarigiannidou have launched their fifth studio album ‘Ath.Lon’ with a single entitled ‘Safe Tonight’.

As well as an extended version, the bundle also contains remixes by FOTONOVELA and NIKONN.

A spectacular video for ‘Safe Tonight’ filmed in Valencia, Spain has now been unleashed. With high production values, it’s like a Mediterranean take on a Nordic Noir drama while in an enigmatic cameo, MARSHEAUX themselves exude that classy sophistication which is omnipresent in their appealing synthpop.

Sparkling, punchy and melodic, ‘Safe Tonight’ is the first fruit of a new found confidence in the MARSHEAUX camp. This has come as a result of the varied international environments they have experienced from increased touring and in Marianthi’s case, a relocation to the city of London.

After the mixed reception for ‘Inhale’ in 2013, ‘Ath.Lon’ is undoubtedly a return to form, with that MARSHEAUX trademark wispiness now blended in with a subtle tone of aggression. The album is released by Undo Records on 16th June 2016.


‘Safe Tonight’ is available as a download bundle or a 4 track CD single from http://www.undorecords.bigcartel.com/product/cdun61-marsheaux-safe-tonight-cd-single

http://www.marsheaux.com/

http://www.undorecords.com/


Text by Chi Ming Lai
2nd June 2016

SECTION 25 Interview

SECTION 25 today01Founded by the Cassidy brothers Larry and Vin, SECTION 25 became best known for their seminal electro classic ‘Looking From A Hilltop’ in 1984.

The track was notable for featuring Larry’s wife Jenny on lead vocals and came from the album ‘From the Hip’ co-produced by Bernard Sumner. Its Peter Saville designed artwork continued the colour coded alphabet theme that began on NEW ORDER’s ‘Power, Corruption & Lies

However, the Blackpool combo opened their long player account with the Martin Hannett produced ‘Always Now’, which was released on Factory Records in 1981. The album recently had a boost in profile when rapper Kanye West sampled the song ‘Hit’ from it for his track ‘FML’.

Sadly Larry and Jenny passed away in 2010 and 2004 respectively. But in a fitting gesture, Vin Cassidy recruited his niece Beth, daughter of the departed SECTION 25 couple to join the band full-time as lead singer alongside regular guitarist and programmer Steve Stringer. She had already featured on several SECTION 25 recordings previously.

SECTION 25 Colour, Movement, Sex & ViolenceThe new phase of SECTION 25 era was launched in 2011 with the release of the ‘Invicta’ EP. With the addition of Beth’s cousin Jo on backing vocals and keyboards, SECTION 25 steadily transformed themselves into glossy electronic pop act with the album ‘Dark Light’ released on Factory Benelux being the end result.

Retaining its core DNA, the spirit of SECTION 25 lives on and the band remain a cult favourite on the live circuit. Beth Cassidy kindly took time out to chat about her personal and musical journey…

How did you end up in “The best old / new band in Britain”, as The Guardian put it?

Yes, best review ever, haha!

I first worked with SECTION 25 in the recording studio back in 2008; they wanted to introduce female vocals for the ‘Nature + Degree’ album, so as my lovely mum had passed away in 2004, I suppose they thought it was fitting for me to contribute… in hindsight, I think it was also an experiment to see if there was a natural place for me in the band. Over time I started playing live… it was quite a gradual process.

SECTION 25 today02What’s it like to be heading the family business now?

I’ve never really seen myself as heading the band, as everything we do together is wholly collaborative.

Writing, recording, decision making, live work, promoting, money, we all do it together, historically that’s the way SECTION 25 has always run as a project. But I feel proud to be able to keep the family legacy alive.

How does being in a family band differ from being in other bands in your experience?

I’ve never been in any other band so I can only assume: There are no inflated egos, because there’s no-one to show off to, we’ve all grown up and older together, so there is no desire to prove anything. We have a lot of shared experiences from the past, and for me, I get to live through very similar experiences that my parents went through, it’s a strange parallel, but it keeps me close to them, which is very cool.

‘Colour, Movement, Sex & Violence’ in 2011 was a good start for the rebooted SECTION 25 and captured that classic Manchester indie dance club vibe…

Yeah, it’s a bright and catchy pop record that was a good entrance the next phase of SXXV… Christ knows what phase we’re up to… No 8 maybe?

The subsequent album ‘Dark Light’ was released on Factory Benelux in late 2012, which from a brand point of view, could be seen as continuing the tradition? The title reflects the contents…

Yes, I suppose if you had to put SECTION 25 in a box, it would either be a dark box with air holes in the lid, or a light box room with some darker dingy corners. It depends which way round you look at it. A lot of sh*t has happened, but I try to view things with a hopeful optimism, and that was my way of thinking whilst writing ‘Dark Light’. Lows and then highs.

SECTION 25 My Outrage‘My Outrage’ has a good blend of electronics and guitars, was that a conscious template to go for with the ‘Dark Light’ album?

It wasn’t a theme as such, but we wanted quite a big sound overall, and the combination of the two worked. It’s got to have a sense of balance though, so it had to feel like SECTION 25 in 2012, but with elements inspired by the past. For me, ‘Love Cuts’, achieves this the most.

What was the inspiration behind ‘My Outrage’?

‘My Outrage’ is about the small pleasures of the everyday and the effects of when they run parallel to / mirror the purely outrageous. Outrage is the Yin to Sunday morning’s Yang. It’s also a reference to my unbalanced, slightly manic personality…

‘Early Exit’ is quite poignant but also, a stompingly optimistic number?

It’s like when you cry with a smile on your face, it’s a powerful thing! I like to try and reach different levels of emotion when I’m writing, and with ‘Early Exit’, I think the words came first and then we built the track around them?

Being a multi-generational combo, there must be some amusing musical reference discussions in rehearsals. Are there any examples you can recall?

Not as much discussions, more like random, disjointed jamming episodes, where Vin will start to play the drums from a WIRE song, Steve will come in with some DAVID BOWIE Thin White Duke guitar chords, Jo will play a classic house synth sound melody and I’ll do some James Murphy style rhythmic talking, hahaha! It’s all good fun.

SECTION 25 live-Simon Helm01What are your own musical tastes and how do they fit into SECTION 25?

My true love is electronica, techno, minimal, bassy, dirty sounds. I moved to Berlin after I finished my degree partly because of the techno and club scene, I wanted to be totally enveloped in it! It was the best music I’ve ever heard…

I also love a lot of music from the 80s and early 90s, Kate Bush, INXS, COCTEAU TWINS, YELLO, TALKING HEADS, then all the Madchester music scene, classic house records from the 90s, SHADES OF RHYTHM, ALISON LIMERICK, ASHA, etc etc.

When I started my degree, all my housemates were listening to ANDY C and SQUAREPUSHER, and I was blasting out ‘Cream Classics’. I do love finding new music too though, GHOST POET, STEVE MASON, PIXX. I think I’m drawn to interesting electronic sounds, and I instantly want to work out how they’ve made the sound, and I also search for really thoughtful lyrics, and interesting lyrical arrangements.

In 2013, you collaborated with FOTONOVELA on the track ‘Clean Slate’, how was that?

I really enjoyed collaborating, it was a bit of a challenge to see if / how I faired going solo without the comfort of the band, and I loved it.

It sounds daft, but I proved to myself that I am a proper musician! I used to have a niggling doubt that I was just winging it, because I totally just fell into the band… but the collaboration got rid of the doubt.

Are you planning any further collaborations with anyone else, or have any ambitions as to who you would like collaborate with?

No plans yet, but open to offers!

What was it like to hear that Kanye West had sampled SECTION 25?

Surreal, hilarious, ace. We rehearsed earlier today for a festival in Norwich that we’re playing at in a couple of weeks, and we tried ‘Hit’. It sounds good, it sounds current! I’m really excited to play it.

The new live album ‘Alfresco’ is a timely release that nicely documents this phase of the band…

We’re in a really nice place with everything at the moment, and ‘Alfresco’ summarises the bands continual progression. Andrew Weatherall was in the audience at that gig, right at the front, nodding his head. He’s a bit of a hero of mine, so it was a monumental live session for me, and now we’ve eternalised it.

SECTION 25 AlfrescoWhat is it like to perform a cult classic like ‘Looking From A Hilltop’ with all its history?

Very very good. It’s pretty transcendental to be honest, I definitely go to another place when we play it live. It’s so loaded with meaning, it makes me feel stronger. Now it does, anyway.

I used to get tears in my eyes and have to turn my back on the audience.

Which other songs do you particularly enjoy playing live? ‘Desert’ in my opinion is a real highlight…

Yeah that’s a dreamy one to play live. I also love to play ‘Dirty Disco’ as it’s got the groove, and lots of spirit. There’s a lot of connective energy between Jo and I when we play songs like ‘Memento’ and ‘Pitch Black Box’, so that’s fun. And ‘Wretch’… I reach inside and pull out my inner ‘Larry’…!

What’s next for SECTION 25? Any new material on the horizon?

Yes! We’re in the jamming stages of writing a new album, so we’ve got about 4 and a half skeletons of songs, and we’re planning to continue pick the writing back up in autumn… Watch this space.


ELECTRICITYCLUB.CO.UK gives its warmest thanks to Beth Cassidy

Additional thanks to James Nice at Factory Benelux

SECTION 25 play the ‘Down By The River’ Indie All Dayer at The Waterfront in Norwich on Sunday 29th May 2016

‘Alfresco’, ‘Dark Light’, ‘Always Now’ and ‘From The Hip’ are available from Factory Benelux at http://factorybenelux.com/section25.html

http://www.section25.com

https://www.facebook.com/section25


Text and Interview by Chi Ming Lai
19th May 2016

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