Tag: Helix

HELIX Interview

HELIX are the North American synth power couple of solo artist Mari Kattman and ASSEMBLAGE 23’s Tom Shear.

Releasing their debut album ‘Twin’ in 2018, their busy schedules meant that there was no more from HELIX until 2021’s ‘Bad Dream’ EP. But their new EP ‘Unimaginable Place’ is their best body of work yet, dark yet strangely romantic and hopeful collection of songs combining elements of synthpop, dub, dance, trip hop, trap and more.

In an ‘Unimaginable Place’, Mari Kattman and Tom Shear gave ELECTRICITYCLUB.CO.UK a wonderful insight into their creative relationship as HELIX and the workings of the modern music industry…

Both of you have been making music individually and in collaboration with others for a while, so was doing a music project together always a given?

Mari: I don’t think it was always a given per se. It’s certainly how things ended up, but our collaboration had as much to do with mutual respect and admiration of one another as people as well as artists. I think our personalities work amazing in a collaborative environment. As much as we may butt heads creatively once in a while, we are both extremely passionate, dedicated and artists that hold ourselves to a high standard of output. So it works out to being a success.

Tom: It’s funny, but the way it came together was that I had heard Mari’s previous project DAY TWELVE and really liked her voice. I had a track I was working on that I needed a harmony part that was higher than I could sing, so I asked her if she could do it and she nailed it. So I asked her to do some vocals on a remix I was working on. Then I asked her to sing on a SURVEILLANCE song. By that time it was like – wait, why don’t we have our own project together?!

What have been each of your favourite tracks done by the other?

Mari: I listened to Tom’s music occasionally before we met and over the years I would come to hear his stuff in passing with friends who were listening to his music or at clubs I was playing shows at. My favorite track from Tom was always ‘Cocoon’. It’s really atmospheric with that kind of reverb-y feel that is super dreamy. I also really appreciate the vocal being so present, clear, right up front. I always find myself tiring of the EBM stuff in general, it’s just so repetitive. So to hear this track in a sea of cookie cutter EBM, was a breath of fresh air. Tom always takes risks on every album which isn’t something most artists do, he will do something unique, out of the box and that’s really something that sets him apart.

Tom: I really like ‘Swallow’. It’s the whole package. It’s got a great rhythmic feel to it, an insistent hook, a really strong vocal and although the song title on its face might suggest something sexual, it’s actually about the struggles women deal with. I love that subversiveness. Honestly, though, it’s hard to pick. Mari’s really been getting stronger with each track she does. She’s been on fire lately!

What are your shared music likes but also any things that one liked that perhaps the other wasn’t very keen on? 😉

Mari: We are very similar, like eerily so, we even shared our common interest of Missy Elliott right when we first met. We also share a common background of punk rock music being our first real affair with music as teenagers. We both also have a HUGE appreciations for 90s electronic music. It’s really nice when there is much to bond about.

Tom: I think we really bonded over 90s music, particularly the electronic stuff. PORTISHEAD and MASSIVE ATTACK… hip-hop stuff like THE FUGEES and Missy Elliot. We’re both fans of 80s stuff, too, but I think the 90s ushered in a sort of darker sound overall that’s really appealing. I can’t really think of anything Mari likes that I hate.

In terms of your music partnership, how does it differ from your own established vehicles?

Mari: HELIX is a totally different sound than the Mari Kattman project. Tom is a true wonder with the cinematic, massive, string heavy, shimmering tracks. It’s fun to apply my vocals to the arrangements he comes up with. I am a totally different composer, I really focus my weight on edgy basslines and try and keep the song structures as simple as I can handle from a mixing perspective. When it comes to Tom holding the control over most of the music and having his expertise in mixing, we can totally push the limits of the stereo field, and we do.

Tom: For me, it’s a chance to just concentrate on the music and let someone else worry about the vocals and fronting the band. It’s refreshing.

Is there any style or approach that you have experimented with in HELIX that you perhaps wouldn’t normally go with?

Mari: We have totally done a lot of stuff that’s super 80s reminiscent. Not synthwave, but 80s 90s electronic music from a pop angle. It’s fun to be able to do whatever we feel like with this project, because it’s not meant to be a copycat of anything happening today. It’s truly a mish-mash of the music that has been inspirational to us in our lifetimes.

Tom: The thing that is the most fun for me is that I just kind of incorporate influences from different genres and squash them together to see if they gel. There’s elements of trip-hop, house, dance music, trap, hip-hop, rock, dub, synthpop in our stuff and somehow it just works.

How do you look back on the making of the debut HELIX album ‘Twin’ released in 2018?

Mari: ‘Twin’ wasn’t only a pleasure to write but it was a true bonding experience for Tom and I. I like to use the analogy of “message in a bottle” he was in Seattle and I was in Rhode Island. We were both working so hard to create things for each other that were outstanding. I would send him back vocals after he sent me a song and just pray that when he woke up in the morning to download my files that he would love what I did. It was a labor of love, for sure.

Tom: That one was a lot different from the EPs because we were living on opposite coasts at the time. So it was a different way of working and was definitely a lot less collaborative. I feel like that album was also about us figuring out what HELIX was going to be. What our sound would be. I much prefer being able to collaborate with Mari in person. We butt heads from time to time, but I think it always results in stronger songs.

Was following up ‘Twins’ with two EPs ‘Bad Dream’ and now ‘Unimaginable Place’ more a consequence of practically as you are busy with your main creative outlets or was it more to do with today’s release strategies which do not appear to favour long playing formats on streaming services?

Mari: I am a big believer in catering to the limited attention span that most people have these days. However, this one was certainly a mix of both of our lives being very busy with the mundane tasks of daily life and yes, the limited attention span idea.

Tom: A little from column A, a little column B. We do feel like the way people consume music is much different from how it used to be. People have much shorter attention spans. I think it’s rare for someone to listen to an entire album from start to finish. So we thought EPs are more “digestible” and concentrated on making those four songs really good. We also figured it would allow us to release music more frequently, and I still hope that, but the reality has been that jobs, day-to-day life, etc slowed that pace down.

Social media has changed a lot even since ‘Bad Dream’, Twitter has turned into a nightmare while there is the rise of TikTok and the emergence of Threads… is this all getting too much?

Mari: I feel like everyoneis trying to get their 15 seconds of fame these days and to be honest, I couldn’t really be bothered. I really care about what I do, but I grew up in a time where things were much different. Physical looks were less important, followers were a non-issue, and musical quality was everything. I am extremely proud of my music but it’s hard for me to post videos and selfies everyday to promote, it all seems a big frivolous compared to the music product itself.

Tom: It’s hard to avoid the feeling that social media is overall a bad thing for humanity. The idea is great on paper, but the reality is it’s exploited as a really effective means of propaganda and spreading misinformation and it really brings out the worst in people a lot of times. I think I was happier before I knew so many crazy people walked among us.

What hardware, software and effects are you using in HELEX now, has there been anything that has been a particular revelation?

Tom: Hardware-wise I mostly used the ARP Odyssey, Roland SH-01a, Arturia Minifreak, and a borrowed Oberheim OB6. Softsynths used include U-he Repro, Kilohearts Phase Plant, Spectrasonics Omnisphere, Arturia Pigments, Inphonik RX-1200, my DAW’s sampler, and a ton more. I treated Mari’s vocals with a lot of stuff from Soundtoys, Valhalla, and others.

The ‘Unimaginable Place’ title song is a mighty club anthem that you can imagine being played at dark alternative establishment, are either of you much into dancing?

Mari: Tom is going to SAY he’s not into dancing, but believe me, he is. At least around the house to annoy our 8 year old daughter. In all honesty though, Tom and I are way more sedentary than we have any business being. haha.

Tom: I prefer to make other people dance than to dance myself. If you’ve ever seen me perform live you know why! I can’t dance to save my life. Which, as Mari mentioned, I have learned I can use to really bum out the kiddo to hilarious effect.

‘Lie To Herself’ ventures into some ominous tones, what is important to get the atmospheric of these types of downtempo songs right?

Mari: ‘Lie To Herself’ is truly a conversational piece, an outward thought. I think the main thing of importance with this track was to get the vocals situated to the front. The vocals truly took center stage when this one came together.

Tom: Atmosphere and texture are two important components of HELIX tracks. The song always comes first, but making it sound interesting and as if it inhabits a physical space of some sort really goes a long way towards creating a mood.

Was ‘Grey’ inspired by anything in particular, lyrically and musically?

Mari: I like to leave these lyrics up to fit whatever situation you are in and leave them there. I am trying to write about things that affect me these days. Feeling the weight of aging is something that a lot of us are dealing with right now. Where is the person I used to be? Am I still acceptable now that I’m not looking or feeling as youthful as I was? Is there still someone who will accept me when I’m not at my best?

Tom: Musically, I had been listening to a lot of old TANGERINE DREAM and was messing around with that sort of “Berlin School” type of sequenced synth line. I set it up to modulate a bunch of different parameters on the synth and set the modulation out of sync with one another so the sound is constantly shifting and evolving against itself. The rest of the song got built around that.

‘Hurt Like Me’ has this powerful but distressing backdrop, do either of you find catharsis in music or can these emotions take you back to difficult paces that are a challenge to deal with?

Mari: I have definitely used this project and my own to sort out a lot of the feelings I was having internally. The coolest part about being a musician is that you are sort of an alchemist of sorts. You can take something really crappy and turn it into something people can dance to! How many people can do that? Musicians also have the last word, always.

Tom: I find the process of making music really cathartic, regardless of the mood or subject matter. Just the process itself is such a satisfying way of working through difficult times or feelings. I guess there’s always the risk of “wallowing in it” a bit, but for me, just going through the process has always been really helpful for getting past tough times.

What do you get from doing HELIX that you perhaps might not doing music with your main vehicle?

Mari: Collaboration is a whole other animal than when you are writing alone. You must be open, willing to bend, willing to settle and you also get the pleasure of the other person’s point of view. You get to combine both of your skills that you have honed over the years. Tom brings so much to the table, he has had decades of experience composing, mixing and producing. It’s so beautiful to hear how HE interprets my voice, instead of just how I do it when I’m alone. It’s a privilege for me to work with him.

Tom: For me, I find it really refreshing to do something different from ASSEMBLAGE 23. I enjoy that too, of course, but to be able to step into a different musical world with different rules and processes helps keep things fresh and also keeps me learning new stuff all the time. I think it’s important that you keep trying to learn new stuff no matter how long you’ve been making music. Stepping outside your usual comfort zone is a really good way to do that. Plus, getting to work with the love of my life ain’t bad either.

What is next for you both, either together or alone or with others?

Mari: I am now working on my first full length solo album and I will finish it this year. I also have some collaborations coming out this year with the FiXT record label, another few tracks with Julian Beeston (FEATURED, CUBANATE, NITZER EBB). I also have another collab with Markus Renard (WOLFSHEIM). You will also be able to catch me on the next MESH album, a much anticipated release that I hope comes out this year as well. So stay tuned!

Tom: We’ve got a bunch of live shows coming up this year for ASSEMBLAGE 23, HELIX and Mari’s solo stuff. Other than that, I’m working on new A23 material, although I have no idea when it will eventually come out. It’s in the works, though!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Mari Kattman and Tom Shear

‘Unimaginable Place’ is available as a digital EP from https://helix.bandcamp.com/







Text and Interview by Chi Ming Lai
2 March 2024

HELIX Unimaginable Place EP

North America’s alternative music power couple Tom Shear and Mari Kattman are back as HELIX.

The former is the mastermind behind ASSEMBLAGE 23 while the latter has established career as a solo artist as well as collaborations with the likes of PSY’AVIAH, 3FORCE and BLACKCARBURING. Originally coming together for Shear’s 2014 EBM side project SURVEILLANCE, their debut HELIX long player ‘Twin’ came in 2018 but busy with their main musical outlets, an EP follow-up ‘Bad Dream’ didn’t appear until 2021.

Blessed with one of the most captivating voices in electronic music, Mari Kattman is on top form with the new HELIX EP ‘Unimaginable Place. Meanwhile Tom Shear creates soundscapes sympathetic to his leading lady while exploring textures and beats in a variety of dark styles without resorting to the calculated miserabilism of some acts.

The opening ‘Unimaginable Place’ title track is an infectious slice of electronic pop that is perfect for goth club dancefloors with its sparkling hooks and groovy rhythmics. The shadowy drama of ‘Lie To Herself’ though allows space for ominous piano in that present day Gary Numan vein while manoeuvring a staggered lattice of traps.

But sparkling arpeggios act as the draw into ‘Grey’ with the chime of eerie bells alongside bass frequency bubbles for a chilling Eurocentric atmosphere… it is kind of pretty although something far more sinister lies behind the façade that might have more than a few shades… to close, ‘Hurt Like Me’ provides percussively the hardest song on the EP as Mari delivers an impassioned vocal to suit the powerful but distressing backdrop.

There’s a strange appealing romance and hope about this ‘Unimaginable Place’ which presents the best and most immediate body of work that Tom Shear and Mari Kattman have made together as HELIX. Hopefully, there will be more…

‘Unimaginable Place’ is available as a digital EP from https://helix.bandcamp.com/




Text by Chi Ming Lai
1 February 2024

HELIX Bad Dream

Shakespeare posed the question “If music be the food of love…” and over the course of popular music numerous couples have released work. From Ike & Tina Turner to Chris & Cosey through EURYTHMICS and more recently our own VILE ELECTRODES and WITCH OF THE VALE, all have shown what can be achieved if partners do more than spend their evenings watching ‘Love Island’ (let’s not mention John and Yoko though…)

Another romantic pairing who have released music are Tom and Mari Shear under the name of HELIX. Their 2018 debut ‘Twin’ was one of the highlights of the year and they have now returned with a new EP, ‘Bad Dream’.

Tom of course is well known from his band ASSEMBLAGE 23 who have been leading lights on the EBM / Industrial scene for some 20 plus years and he brings the muscular instrumentation and production from that project to HELIX but with a number of twists that will raise a few eyebrows.

All of this underpins the new Mrs Shear’s frankly spectacular voice which has been heard across numerous collaborations from her new husband’s SURVEILLANCE release to guest vocals with, to name a few, COMADUSTER and IVARDENSPHERE. More on those vocal skills in a moment…

Opening with the energetic ‘Run’, which picks up from where the ‘Twin’ album left off, this acts as an excellent appetiser for what’s to come. A fine danceable pop infused number, this will no doubt go down a storm not only in a club setting but also in the set at the, currently, infrequent HELIX live outings. Mari easily harmonises with herself in the layered vocals on the chorus to wonderful effect.

One of the great things about any side project is it gives the opportunity to try new things musically and this is evidently the approach taken on the next few tracks by Tom himself. ‘Slip’ opens with a laid-back percussion track underpinning effected samples leading into verse which sensibly allows the vocal to carry the thrust of the track.

As previously stated, I think Mari has one of the best female voices on the scene and this is proven on this track which allows her to be heard without swamping with unnecessary processing.

‘Kill The Unknown’ further allows Mr Shear the scope to do new things musically. This moves into almost ‘indie’ territory with live drums and, gasp, guitars courtesy of multi-instrumentalist Elias Black. These add an expected texture and bite to the track and shifts HELIX in another direction entirely.

Closer ‘Bad Dream’ is a brooding slice of electronica with an almost metal chorus which drops in and out of the arrangement that hinges around a frantic drum track. The accompanying remix included on the EP by MESH frontman Mark Hockings is actually my preferred version, again the ‘dancier’ mix will go down a storm in a club and the mix further highlights Mari’s great vocal take.

Closing the tracklist out is a mix of ‘Run’ by ex-IRIS member Andrew Sega under his HALLOWED HEARTS moniker. This is an almost goth interpretation with chiming guitars and a straightforward 4/4 drum track. Again, this version underlines how well this song will go down in a club set.

In the second part of Shakespeare quote at the top of this article he asks that we “play on”. On the strength of both the earlier album and this all too short EP, we can but hope that Mr and Mrs Shear do just that, there is much here to feed even the hungriest of souls.

‘Bad Dream’ is available as a digital EP from https://helix.bandcamp.com/album/bad-dream



Text by Ian Ferguson
5th November 2021


2018 saw Jean Michel Jarre celebrate 50 years in the business and whether the world really needed another of his compilations, ‘Planet Jarre’ was probably one of the better collected representations of his work for casual admirers.

But not standing still and releasing his fourth new album in three years, ‘Equinoxe Infinity’ continued the story as the French Maestro tuned 70.

SOFT CELL made a totally unexpected return for a huge one-off farewell gig at London’s O2 Arena; and with it came a boxed set, the ‘Northern Lights’ single and other new recordings which have raised hopes for a new album.

From the same era, FIAT LUX announced plans for their debut album ‘Save Symmetry’ with an excellent lead track ‘It’s You’, while B-MOVIE came up with their most synth-propelled single yet in ‘Stalingrad’.

But one act who actually did comeback with a brand new album in 2018 were DUBSTAR; now a duo of Sarah Blackwood and Chris Wilkie, as ‘One’ they reminded audiences as to why they were the acceptable face of Britpop with their bridge to Synth Britannia.

IONNALEE finally released her debut opus ‘Everyone Afraid To Be Forgotten’ and her tour which included choice cuts from IAMAMIWHOAMI, proved to be one of the best value-for-money live experiences in 2018, one that was even endorsed by Welsh songstress Charlotte Church.

CHVRCHES offered up their third album ‘Love Is Dead’ and continued their role as international flagwavers for quality synthpop, while EMIKA presented her best album yet in ‘Falling In Love With Sadness’, an exquisite electronic record with a Bohemian aura.

JOHN GRANT was on an artistic roll both solo and in partnership with WRANGLER as CREEP SHOW with two new albums. However, he was beaten by Neil Arthur who managed three albums over a 12 month period as NEAR FUTURE and BLANCMANGE including ‘Wanderlust’, possibly the latter’s best body of work in its 21st Century incarnation.

It was a busy year for Steve Jansen with a new solo ambient work ‘Corridor’, the well-received vinyl reissue of JAPAN’s two Virgin-era studio albums and his epic, more organically flavoured band project EXIT NORTH with their debut long player ‘Book Of Romance & Dust’.

Sarah Nixey went on some ‘Night Walks’ for her best solo album yet, a wonderful collection of everything she had ever been musically all wonderfully rolled into one.

Meanwhile Tracey Thorn went back to the ‘Dancefloor’ with her ‘Record’ which content wise was right up there with some of Alison Moyet’s electronica output from the last five years.

Those who liked their electronic music darker were well served with NINE INCH NAILS, IAMX, KIRLIAN CAMERA and HELIX, but after experimenting with the single only format for a few years, Daniel Graves announced he was taking the plunge again with a new AESTHETIC PERFECTION album.

The Sacred Bones stable provided some quality releases from Hilary Woods, Zola Jesus and John Carpenter. Meanwhile, providing some fierce socio-political commentary on the state of the UK was GAZELLE TWIN.

Hungary’s BLACK NAIL CABARET offered some noirish ‘Pseudopop’ and promising Norwich youngsters LET’S EAT GRANDMA got more deeply into electronica without losing any of their angsty teenage exuberance on their second album ‘I’m All Ears’.

Less intense and more dreamy were GLASSHOUSE, the new duo fronted by former TECHNIQUE singer Xan Tyler.

Aussies CONFIDENCE MAN provided some wacky dancey glitz to the pop world and after nearly four decades in the business, Canadian trailblazers RATIONAL YOUTH finally played their first ever concert in London at ‘Non Stop Electronic Cabaret’ alongside dark wave compatriots PSYCHE and Numan-influenced Swedish poptronica exponents PAGE.

Sweden was again highly productive with Karin Park, Johan Baeckstrom and Val Solo while Norway took their own approach with FARAOSOFT AS SNOW and ELECTRO SPECTRE setting their standard. Veteran Deutschlanders THE TWINS and PETER HEPPNER returned with new albums after notable recorded absences while next door in Belgium, METROLAND presented themselves as ‘Men In A Frame’.

While the new HEAVEN 17 album ‘Not For Public Broadcast’ is still to be finished, Glenn Gregory teamed by with live keyboardist Berenice Scott as AFTERHERE. Their long-time friend Claudia Brücken performed as xPROPAGANDA with Susanne Freytag and partnered up with one-time TANGERINE DREAM member Jerome Froese, releasing the ‘Beginn’ album in the process.

It was a year of interesting collaborations all-round with UNDERWORLD working with Iggy Pop, U96 linking up with Wolfgang Flür for an excellent single called ‘Zukunftsmusik’ and German techno pioneer Chris Liebing recruiting Polly Scattergood and Gary Numan for his Mute released album ‘Burn Slow’.

Based in Berlin, THE KVB offered up some brooding gothic moods with ‘Only Now Forever’ while Valerie Renay of NOBLESSE OBLIGE released her first solo album ‘Your Own Shadow’.

Highly appealing were a number of quirky Japanese influenced female artists from around the globe including COMPUTER MAGIC, MECHA MAIKO and PLASMIC. But there were also a number of acts with Far Eastern heritage like STOLEN, FIFI RONG, DISQO VOLANTE and SHOOK who continued to make a worthy impression with their recorded output in 2018.

Heavy synth rock duo NIGHT CLUB presented their ‘Scary World’ on the back of tours opening for COMBICHRIST and A PERFECT CIRCLE while also from across the pond, NYXX and SINOSA both showcased their alluring potential.

At the poppier end of the spectrum, Holger Wobker used Pledge Music to relaunch BOYTRONIC with their most recent vocal incumbent James Knights in an unexpected twist to once again prove the old adage to “never say never” as far as the music industry is concerned.

Meanwhile, Chris Payne co-wrote and co-produced the excellent ‘Walking In West Berlin’ EP with KATJA VON KASSEL while also revealing plans for an autobiography and opening for his old boss…

The surprise album of the year was Chris Catrer with his ‘Chemistry Lessons Volume One’ while using a not dissimilar concept with their second album ‘Hello Science’, REED & CAROLINE took their folk laden synthpop out on a US tour opening for ERASURE.

IMMERSION provided a new collection of their modern Motorik as SHRIEKBACK, FISCHERSPOONER, THE PRESETS, HEARTBREAK and QUEEN OF HEARTS all made comebacks of varying degrees with audiences still eager for their work.

Steven Jones & Logan Sky harked back to the days when Gary Numan and OMD would release two albums in one year by offering ‘Hans Und Lieselotte’ and ‘The Electric Eye’ in 2016. Those veteran acts themselves celebrated their 40th anniversaries by going orchestral, something which SIMPLE MINDS also did when they opted to re-record ‘Alive & Kicking’ for the ’80s Symphonic’ collection although Jim Kerr forgot how a third of the song went!

With SIMPLE MINDS also performing a horrible and barely recognisable ‘Promised You A Miracle’ during BBC’s ‘The Biggest Weekend’, making up for the live joke that his former band have become was one-time bassist Derek Forbes with the album ‘Broken Hearted City’ as ZANTi with Anni Hogan of MARC & THE MAMBAS fame.

Other former members of high-profile bands were busy too with Ian Burden, formally of THE HUMAN LEAGUE returning with the Floydian ‘Hey Hey Ho Hum’ while A FLOCK OF SEAGULLS reformed briefly for an orchestral re-run of their catalogue.

With the release of their second album ‘Kinetik’, EKKOES handed over THE HUMAN LEAGUE support baton to SHELTER who came up with their best body of work yet in the more introspective shades of ‘Soar’

That darker approach manifested itself on singer Mark Bebb’s side project FORM with Keith Trigwell of SPEAK & SPELL whose debut long player ‘defiance + entropy’ also came out in 2018.

Having been championed by RÖYSKSOPP, Wales’ MAN WITHOUT COUNTRY returned with ‘Infinity Mirror’ while riding on the well-deserved momentum from opening for OMD, Ireland’s TINY MAGNETIC PETS embarked on their first headlining tour.

Representing North of the border were Ryan Vail and HANNAH PEEL, but hailing from Scotland were WITCH OF THE VALE who proved to be one of the most interesting new acts of 2018 having supported ASSEMBLAGE 23 on their most recent UK visit. There was a good showing from UK acts in 2018 with RODNEY CROMWELL, ANI GLASS, THE FRIXION and FAKE TEAK all issuing some excellent synth tinged songs for public consumption.

NINA’s long awaited debut album ‘Sleepwalking’ was a fine hybrid of synthpop and the currently fashionable Synthwave aesthetic; her live double billing with Canadian synthpopsters PARALLELS was one of the hottest tickets of the year.

The sub-genre was indeed making waves and there were some very enjoyable artists coming out of it like GUNSHIP, Dana Jean Phoenix and Michael Oakley.

However, the endless AOR excesses, moonlight sax breaks and highly unimaginative band monikers using numbers between 80 to 89 affixed to an archaic technology reference, illustrated by yet another neon sunset, VCR grid and Lamborghini, were becoming tiresome.

As Synthwave cynics, ELECTRICITYCLUB.CO.UK’s touch paper was being lit big time! The whole point of the synthesizer’s role during the Second British Invasion of the US was to fight against the insipid overtures of AOR like TOTO, CHICAGO and JOURNEY, NOT to make music coated with its horrid stench as THE MIDNIGHT did in 2018 with their long player ‘Kids’.

But there was naivety within some quarters too; electronic music did not begin in 2011 with ‘Drive’, an above average film with a good if slightly over rated soundtrack. However, its cultural influence has led to a plethora of meandering tracks made by gamer boys which sounded like someone had forgotten to sing on them; perhaps they should have gone back to 1978 and listened to GIORGIO MORODER’s ‘Midnight Express Theme’ to find out how this type of instrumental music should be done?

Many of the newer artists influenced by Synth Britannia that ELECTRICITYCLUB.CO.UK has featured have sometimes been accused of being stuck in the past, but a fair number of Synthwave acts were really taking the soggy biscuit with their retro-obsession.

Rock band MUSE’s use of glowing artwork by Kyle Lambert of ‘Stranger Things’ fame on their eighth album ‘Simulation Theory’ sent sections of the Synthwave community into meltdown. There were cries that they had “stolen the aesthetics and concept” and how “it’s not relevant to their sound”!

But WHAM! had Peter Saville designed sleeves and never sounded like NEW ORDER or OMD, while electropop diva LA ROUX used a visual stylisation for ‘In For The Kill’ that has since been claimed by Synthwavers as their own, despite it being from 2009 when Ryan Gosling was peddling graveyard indie rock in DEAD MAN’S BONES 😉

This was one of the bigger ironies of 2018, especially as MUSE have always used synths! One of Matt Bellamy and co’s biggest musical inspirations is ULTRAVOX, indicating the trio probably have a better understanding of the fusion between the synthesizer, rock and classical music, as proven by the ‘Simulation Theory’ bookends ‘Algorithm’ and ‘The Void’, than any static laptop exponent with a Jan Hammer fixation.

It is interesting to note today how electronic music has split into so many factions, but there’s still the assumed generalisation that it is all one thing and that synthpop fans must also like Synthwave, Deep House, EDM, Industrial and those tedious beach chill-out remixes.

Back in the day and even now, some fans of THE HUMAN LEAGUE didn’t like OMD, DEPECHE MODE fans only liked DEPECHE MODE and rock fans had a token favourite electronic band.

Out of all the acts from the Synth Britannia era, ELECTRICITYCLUB.CO.UK had very little time for THOMPSON TWINS despite their huge international success, but their leader Tom Bailey’s 2018 solo recorded return ‘Science Fiction’ was warmly received by many.

Just as COLDPLAY and SNOW PATROL fans don’t all embrace ELBOW, it is ok to have preferences and to say so. Not liking the music of an artist does not make you a bad person, but liking everything does not make you a better person either… in fact, it shows you probably have no discerning taste! In 2002, SOFT CELL warned of a ‘Monoculture’, and if there is no taste differentiation in art and music, it will spell the end of cultural enhancement.

Taste is always the key, but then not everyone who loves chocolate likes Hersheys… and with that analogy, ELECTRICITYCLUB.CO.UK bids farewell to 2018 and looks forward to a 2019 that includes the return of TEARS FOR FEARS and the first full live shows from Giorgio Moroder, plus new releases by VILE ELECTRODESKITE, VILLA NAH, I AM SNOW ANGEL and LADYTRON.

ELECTRICITYCLUB.CO.UK Contributor Listings of 2018


Best Album: MAN WITHOUT COUNTRY Infinity Mirror
Best Song: MAN WITHOUT COUNTRY Lafayette
Best Gig: TANGERINE DREAM at London Union Chapel
Best Video: THE SOFT MOON Give Something
Most Promising New Act: VOX LOW


Best Album: BLANCMANGE Wanderlust
Best Song: ELECTRO SPECTRE The Way You Love
Best Gig: OMD at Glasgow Kelvingrove Park
Best Video: NYXX Voodoo
Most Promising New Act: WITCH OF THE VALE


Best Album: DUBSTAR One
Best Song: PAGE Start (Poptronica Version)
Best Gig: DIE KRUPPS + FRONT LINE ASSEMBLY at O2 Academy Islington
Best Video: FIFI RONG Horizon
Most Promising New Act: ZANTi


Best Album: EMIKA Falling In Love With Sadness
Best Song: FIAT LUX It’s You
Best Gig: SOFT CELL at London O2 Arena
Best Video: FAKE TEAK Bears Always Party The Exact Right Amount
Most Promising New Act: WITCH OF THE VALE


Best Album: GUNSHIP Dark All Day
Best Song: SHELTER Karma
Best Gig: IAMX at London Electric Ballroom
Best Video: JUNO REACTOR Let’s Turn On
Most Promising New Act: MECHA MAIKO

Text by Chi Ming Lai
8th December 2018


The long awaited synth collaboration between the East and West of the United States is finally here.

HELIX marks the musical marriage between the Rhode Island songstress Mari Kattman and the man behind everything ASSEMBLAGE 23, Seattle-based Tom Shear.

Kattman, previously of DAY TWELVE and MARI & THE GHOST, debuted with her personal signature sound on a rather fetching long player, ‘Hover’, where she collaborated with Matt Echo. The record settled in a genre of its own and turned many musical heads, including Shear’s.

It wasn’t the first time that his compass pointed East, as the pair had worked together on his side project SURVEILLANCE, where Kattman provided her vocal skills on ‘Husk’ from ‘Oceania’. Tom Shear needs no introduction within the hard core lovers of electronica; being the musical, lyrical and vocal supplier of ASSEMBLAGE 23, which continuously provides top shelf synth offerings, appreciated not only by those “on the verge of collapse”.

It is therefore imaginable that such collaboration is bound to bring miraculous effects and show yet another side to the Seattle based producer. And indeed the new approach comes out on their debut ‘Twin’, especially with the opening ‘Widescreen’, where floatingly gentle melody creates the base for Kattman’s vocal journey further East.

If she’s out to snake whisper, she certainly succeeds, for ‘Anymore’ ushers a change of mood ear worthy a repeat play time. Subtly subdued, yet containing multiple layers of instrumentation courtesy of Shear, it provides an excellent canvas for the voice reminiscent that of Sharleen Spiteri’s. The power of ‘Bird Of Prey’ accents itself in this uptempo gem, where Shear goes vintage musically and on production, while Kattman channels her inner MADONNA, just like MECHA MAIKO had done on her debut ‘Mad But Soft’ couple of months back.

If you’re expecting ‘Kicking & Screaming’ to do what it says on the tin, you’ll be in for a disappointment. This piercing semi-ballad has plenty of subtle power, that’s best served with the addition of darkness, and perhaps it doesn’t prepare for the corker that is ‘Expensive Things’. Here Shear does what Shear does best: takes that beat and twists it into something amazing, adding a pinch of heavy synth and a dollop of ear teasing percussion, interloping with regularly appearing arpeggios and nudges of beats paying homage to vintage DM via ‘Shout’.

This could be a hard act to follow but ‘We Are’ does a good job regardless, changing the feel into a modern offering of off-beat hipster styles, leading into the school disco of ‘Like A Drug’. What SPECTRA PARIS did on ‘Retromachine Betty’, Mari Kattman does here; enhanced by electrifying guitar, fast paced rhythm and plenty of pink and fluffy synths.

While ‘I May Be Wrong’, HELIX keeps going and now Shear joins Kattman on vocals to make it right. This middle of the road track provides a delicate easy listening experience; star gazing and romantic, making Shear sound a tad like Peter Heppner, which is always a good move.

But the ripe beats return suddenly on ‘Live In My Heart’. And what a fast pleasure that is! Kattman goes quirky with her vocal provision and Shear shows he can do the club feel very well. Pure ASHBURY HEIGHTS on steroids, riding on Space Mountain, getting stoned… hang on, that’s LA based NIGHT CLUB… you get the idea!

As all good things have to come to an end, ‘The Beautiful Unseen’ ushers the wrap for the album. Slightly slower, deeper and marvellously executed, where the piano paves the way for the haunting voice and pointed synth, this closing track leaves plenty of thinking space and hope for continuation.

It comes as no surprise that Shear can deliver musically, it’s also not news that Kattman is a valid artist on her own, but those two twinned together provide higher levels of musical enjoyment.

While the debut offering from HELIX may feel like a mixed bag for some and too demure for others, let’s not forget that musical knowhow is deeply ingrained in the pair, and for their first full album as a newly found partnership, ‘Twin’ provides heaps of listening pleasure.

And if it’s too mainstream for you, go and indulge in ASSEMBLAGE 23 instead. Either way, you won’t miss out on the good thing.

‘Twin’ is released by Metropolis Records on 24th August 2018, pre-order the CD direct from https://www.metropolis-records.com/product/11631/twin

Album previews can be heard at https://www.youtube.com/channel/UCXy3cSLVcbsGBlI4M2pjzLA





Text by Monika Izabela Trigwell
14th August 2018