Tag: Hundred In The Hands

A Beginner’s Guide To RICHARD X

Photo by Miles Aldridge

Producer and remixer Richard Philips, better known as Richard X, began his musical career creating bootlegs or mash-ups.

This was an illegal creative practice of combining two existing and often incongruous records to make an entirely new track.

The fusion of disparate elements, where often the vocals of one recording from a particular genre were placed over the instrumental backing from another, became a fashionable practice in clubs; Belgium’s 2 Many DJs were among one of the more notable exponents alongside Richard X.

Influenced by THE HUMAN LEAGUE and KRAFTWERK in particular, Richard X’s first notable mash-up under the name GIRLS ON TOP was ‘I Wanna Dance With Numbers’ in 2001; it dropped Whitney Houston over KRAFTWERK and inspired by the apparent elitism of the electronica scene at the start of the 21st Century.

But it was when he placed ‘Freak Like Me’ by R ‘n’ B artist Adina Howard over TUBEWAY ARMY’s ‘Are Friends Electric?’ for a bootleg entitled ‘We Don’t Give A Damn About Our Friends’ that figures within the music business realised Richard X’s Frankenstein vision might have commercial potential.

Ironically, one person who didn’t was Adina Howard herself who refused permission for her vocal to be used on an officially sanctioned release.

Instead, the British female pop trio recorded a cover version of the mash-up produced by Richard X and the rest is history.

Since then, Richard X has been approached to work with many artists, but remains selective, declining most of what he is offered and often only working on individual tracks, thanks to his own artistic assertion that “I’ve always been about singles…”

Richard X created his own production umbrella Black Melody to oversee his work and even released a collection of demos by THE HUMAN LEAGUE as ‘The Golden Hour Of The Future’ which had been shelved by Virgin Records back in 1981. Meanwhile as well as ERASURE, NINE INCH NAILS, GOLDFRAPP, MIRRORS, SAY LOU LOU and NEW ORDER, his productions and remixes have encompassed artists such varied as Will Young, Roísín Murphy, Rachel Stevens, Sam Sparro, Tiga, Jarvis Cocker and Lana Del Rey.

As a result of often working on just singular tracks with artists, Richard X has a large and diverse portfolio; ELECTRICITYCLUB.CO.UK lists eighteen of his most notable tracks, with a limit of one track per artist and presented in chronological and then alphabetical order…


SUGABABES Freak Like Me (2002)

Richard X dropped ‘Freak Like Me’ over ‘Are Friends Electric?’ as a GIRLS ON TOP bootleg, a crossover hit was just waiting to be unleashed… enter SUGABABES, modern pop’s equivalent of ‘Charlie’s Angels’. This was a period when Gary Numan was being sampled left, right and centre by the likes of BASEMENT JAXX and DJ Armand Van Helden, so this Diabolus In Musica urban hybrid no doubt helped bring him to a curious new young audience.

Available on the SUGABABES album ‘Overloaded: The Singles Collection’ via Universal Music

http://sugababesmusic.com


RICHARD X vs LIBERTY X Being Nobody (2003)

A huge fan of THE HUMAN LEAGUE, Richard X continued his mash-up magic, albeit in a more reproductive manner. When the appropriately monikered LIBERTY X came knocking, he took inspiration from the various versions of ‘Being Boiled’ and put RUFUS & CHAKA KHAN’s funk classic ‘Ain’t Nobody’ over the top, helped by the fact that both tunes ran at a very similar BPM of 103/104.

Available on the LIBERTY X album ‘Being Somebody’ via V2 Records

https://www.facebook.com/libertyxofficial/


RICHARD X in collaboration with DEBORAH STRICKLAND-EVANS Lemon / Lime (2003)

Deborah Evans-Strickland was best known for her deadpan vocal on THE FLYING LIZARDS’ very unusual cover of ‘Money (That’s What I Want)’. For his debut solo album, Richard X dragged her out of retirement for a bizarre reinterpretation of ‘Walk On By’ as well as the Trans-Commuter Express job spec art piece ‘Lemon / Lime’. Stern but strangely alluring in her posh Essex accent, Evans-Strickland came over like the scary Human Resources Manager who everyone is secretly attracted to.

Available on the RICHARD X album ‘Presents His X Factor Vol1’ via Virgin Records

http://blackmelody.com


RACHEL STEVENS Some Girls (2004)

Co-written with Hannah Robinson and based on some real-life music industry anecdotes, Richard X’s GOLDFRAPP-styled production on ‘Some Girls’ saw Rachel Stevens playing a wannabe who ends up on pop’s casting couch. Driven apparently by having his GOLDFRAPP remixes rejected, it was ‘Some Girls’ that first put the icy glam electro sound into the mainstream consciousness before GOLDFRAPP themselves.

Available on the RACHEL STEVENS album ‘Come & Get It’ via Polydor Records

http://www.rachelstevensofficial.com


NINE INCH NAILS Only – Richard X Remix (2005)

“There is no you, there is only ME!” exclaimed an angry and provocative Trent Reznor on ‘Only’, but Richard X smoothed things down, brought forward the chorus and took it down the discotheque, albeit a dark gothic one! With a frantic marimba line added and an increased dance tempo, this was one of Richard X’s best crossover reworkings that still retained the original’s heavy spirit of frustration expressed as part of Reznor’s battle with alcoholism and substance abuse.

Available on the NINE INCH NAILS EP ‘Everyday Is Exactly The Same’ via Nothing Records

http://www.nin.com


LUKE HAINES Off My Rocker At The Art School Bop – Richard X Mix (2006)

Once referred to as the Adolf Hitler of Britpop by the music press, Luke Haines’ memoir ‘Bad Vibes: Britpop & My Part In Its Downfall’ declared that BLUR’s Damon Alban deserved far more to be nominated for that title! An installation of danceable pop terrorism by THE AUTEURS and BLACK BOX RECORDER leader with a full fat octave driven electro mix by Richard X, this gleefully satirised the Shoreditch club scene with a bitter attack on its array of poseurs.

Available on the LUKE HAINES album ‘Off My Rocker At The Art School Bop’ via Fantastic Plastic

http://www.lukehaines.co.uk


PET SHOP BOYS Fugitive – Richard X Extended Mix (2006)

Although the ‘Fundamental’ album was produced by Trevor Horn, Richard X worked on and powerfully extended ‘Fugitive’ as a limited edition exclusive for the fittingly titled ‘Fundamentalism’ bonus album. PET SHOP BOYS’ own post-9/11 songNeil Tennant recently revealed in the extensive ‘Fundamental: Further Listening 2005–2007’ booklet notes:“It’s about a terrorist, a terrorist whose ideology is that he believes that by killing the enemy he’s going to go to heaven”.

Available on the PET SHOP BOYS album ‘Fundamental: Further Listening 2005 – 2007’ via EMI Records

http://petshopboys.co.uk


ANNIE Songs Remind Me Of You (2009)

Richard X has worked on-and off with Anne Lilia Berge Strand since 2004 including her breakthrough song ‘Chewing Gum’; ‘Songs Remind Me Of You’ was another fabulous tune from the X / Hannah Robinson songbook. Filled with high octane electronic dance flavours, “How does it feel…to hear your songs on the radio?” asked the Norwegian songstress wispily with an exquisite devenir a gris lilt over a classic chord structure inside a spiky synthesized mix.

Available on the ANNIE album ‘Don’t Stop’ via Smalltown Supersound

https://www.facebook.com/anniemelodymusic/


ANTHONIO Annie (2009)

As a jokey publicity stunt for the Italo disco flavoured ANNIE single ‘Anthonio’, Richard X used its backing track and a new lyric by Hannah Robinson to create a brilliant tongue-in-cheek response to her tale of broken holiday romance. As a modern exponent of Italo, HEARTBREAK’s charismatic vocalist Sebastian Muravchik amiably played the role of the disimpassioned Latin lover.

Available on the ANTHONIO single ‘Annie’ via Pleasure Masters

http://lexprojects.com/sebastian-is-anthonio/


SAINT ETIENNE Method Of Modern Love (2009)

With some slight structural similarities to Kylie Minogue’s ‘The One’ and recorded by SAINT ETIENNE for an updated singles compilation, ‘Method Of Modern Love’ was again written by Richard X with Hannah Robinson alongside Matt Prime. A long-time fan of the trio, it had only been intended for Richard X to remix the track ‘This Is Tomorrow’, but he ended up producing them as they opted for ‘Method Of Modern Love’ as a new single after hearing the demo.

Available on the SAINT ETIENNE album ‘London Conversations: The Best Of’ via Heavenly Records

http://www.saintetienne.com


ROÍSÍN MURPHY Parallel Lives (2009)

‘Overpowered’ was the second solo album from one-time MOLOKO frontwoman Roísín Murphy and a superb collection of soulful 21st century electronic disco. The Richard X helmed ‘Parallel Lives’ penetrated with some steady and deep sub-bass, providing a nice bonus to an album where Murphy had gloriously sounded not unlike Lisa Stansfield fronting PET SHOP BOYS on outstanding songs such as ‘Primitive’ and Cry Baby’.

Available on the ROÍSÍN MURPHY album ‘Overpowered’ via EMI Records

https://www.roisinmurphyofficial.com


DRAGONETTE Pick Up The Phone – Richard X Remix (2010)

While ‘Pick Up The Phone’ from Canadian popsters DRAGONETTE was a summery upbeat tune, their usual Euro-leaning sound took a breather with electric guitars subbing for the usual synths. But this made things perfect for a superior Richard X remix to stick back in all the electronic dance elements that the band were actually best known for.

Available on the DRAGONETTE album ‘Mixin To Thrill’ via Dragonette Inc

http://www.dragonetteonline.com


GOLDFRAPP Alive (2010)

From ‘Head First’, the poppiest album in the GOLDFRAPP catalogue, the Richard X assisted ‘Alive’ allowed Alison Goldfrapp to explore her Olivia Newton-John fixation with a tune that recalled ‘I’m Alive’, the latter’s collaboration with ELECTRIC LIGHT ORCHESTRA for the film ‘Xanadu’. The synth solo was big and fat with power chords plus a great middle eight to boot. With references to Billy Joel as well, ‘Alive’ sounded slightly more Oberheim than Korg…

Available on the GOLDFRAPP album ‘Head First’ via Mute Records

https://www.goldfrapp.com


THE HUNDRED IN THE HANDS Young Aren’t Young (2010)

Hailing from Brooklyn, THE HUNDRED IN THE HANDS possessed a sultry new wave fusion with occasional gothic overtones. Despite the girl / boy duo having aspirations to be more like Warp Records label mates BROADCAST, Richard X produced a number of key songs from their self-titled debut album, adding a more accessible sheen. ‘Young Aren’t Young’ was a dreamy NEW ORDER influenced number layered with the sort of frenetic guitar playing that would have made Bernard Sumner proud.

Available on THE HUNDRED IN THE HANDS album ‘The Hundred In The Hands’ via Warp Records

https://www.facebook.com/thehundredinthehands/


SOPHIE ELLIS-BEXTOR Starlight (2011)

It’s strange to think now but before she became a pop princess, Sophie Ellis-Bextor once fronted an indie rock band called THEAUDIENCE. Yet another Richard X and Hannah Robinson co-composition, the glitterball sparkle of ‘Starlight’ utilised a Linn Drum led rhythm section and sweeping synth strings for a dreamy electronic pop concoction. Alluringly finding “heaven in the dark”, it was one of those catchy summer holiday disco anthems that Kylie Minogue wouldn’t have objected to recording herself.

Available on SOPHIE ELLIS-BEXTOR album ‘Make A Scene’ via EBGB’s

http://sophieellisbextor.net


MIRRORS Into The Heart – Richard X Radio Mix (2011)

With a determined art for art’s sake concept for their eventual ‘Lights & Offerings’ long player, the original sessions with Richard X were abandoned when MIRRORS chose to produce themselves, although he did contribute a Radio Mix for the reissued single ‘Into The Heart’; less intense and claustrophobic than the quartet’s album version, the majestic singalong proved that Synth Britannia influences were and still are nothing to be ashamed of.

Available on the MIRRORS single ‘Into the Heart’ via Skint Records

https://www.facebook.com/theworldofmirrors/


THE SOUND OF ARROWS Lost City (2011)

THE SOUND OF ARROWS are Stefan Storm and Oskar Gullstrand, a Swedish duo described by one observer as “Disney meets Brokeback Mountain”. Like PET SHOP BOYS fed with Fox’s Glacier Mints, the Richard X produced widescreen instrumental ‘Lost City’ was fittingly dramatic, although its main melodic theme may have been a bit too ‘Top Gun’ with synths for some listeners…

Available on THE SOUND OF ARROWS album ‘Voyage’ via Skies Above

http://www.thesoundofarrows.com


ERASURE Sacred (2014)

Produced by Richard X, ‘The Violet Flame’ saw ERASURE return to form with their fourteenth album after the disappointment of its predecessor ‘Tomorrow’s World’ and express an infectious zest for the future with songs seeded via Vince Clarke’s pre-recorded dance grooves. With ‘Sacred’, this was another classic ERASURE pop tune, although the bizarre phrasal spectre of ‘Sweet Child O Mine’ by GUNS N ROSES could be found in the verse of Andy Bell’s vocal topline!

Available on the ERASURE album ‘The Violet Flame’ via Mute Artists

http://www.erasureinfo.com


NEW ORDER Plastic (2015)

For the Mancunians’ first album of new material without estranged founder member and bassist Peter Hook, Bernard Sumner promised a return to electronic music. That was certainly delivered on with ‘Plastic’, a full-on throbbing seven minute electro number in the vein of Giorgio Moroder, solidly mixed by Richard X with blippy echoes of NEW ORDER’s own ‘Mr Disco’. Dealing with the issue of superficiality in relationships, it declared “you’re like plastic, you’re artificial…”

Available on the NEW ORDER album ‘Music Complete’ via Mute Artists

http://www.neworder.com


NINA Beyond Memory (2016)

Produced by Richard X and Sunglasses Kid, a nocturnal warmth exuded from the hypnotic drifts of ‘Beyond Memory’, demonstrating how German songstress NINA’s brand of pulsating electronic pop acted as a bridge between the sub-genres of synthwave and synthpop. With her vocals deliciously slicing the moonlit atmosphere with a superbly breathy chorus, ‘Beyond Memory’ reflected on the personal lifelong impact of past relationships.

Available on the NINA album ‘Sleepwalking’ via Aztec Records

http://www.ninamusic.co.uk/


Text by Chi Ming Lai
7th May 2018

Introducing THE HUNDRED IN THE HANDS

Hailing from Brooklyn, THE HUNDRED IN THE HANDS are Eleanore Everdell and Jason Friedman, a girl-boy duo who combine the electronic and the organic into a sultry new wave fusion.

Following their debut single ‘Dressed In Dresden’ on Pure Groove in 2009, they signed to the ultra-hip Warp Records and released their first EP ‘This Desert’.

Both showcased their sensibility for occasional gothic overtones a la JOY DIVISION and SIOUXSIE & THE BANSHEES.

Their self-titled debut came in late 2010 and on it, the fantastic opener ‘Young Aren’t Young’, produced by Richard X, was a dreamy Italo disco number layered with the type of chordial guitar that would have made Bernard Sumner proud, although on this live version for KEXP, it is rather cranked up to the max!

Also produced by Richard X, ‘Commotion’ possessed a brilliant dynamic energy which sounded like THE CURE at Studio 54 fronted by THE MOTELS, all very New York while simultaneously London or even Berlin.

Speaking of whom, while she doesn’t belt her voice in the way BERLIN’s Terri Nunn did in the manner of HEART fronting ULTRAVOX, Everdell’s more resigned tone complimented the spikey textures, pulsing sequences and the dance-friendly beats. The first single from the album entitled ‘Pigeons’ was another Richard X production which continued this enigmatic but accessible pop formation.

For their forthcoming new album ‘Red Night’, Everdell and Friedman have handled production themselves. From it, ‘Keep It Low’ is a development of their avant pop style with a steadier groove and heavier loom while ‘Faded’ is quite sparse, shaped by synth drones and dressed with Friedman’s harmonics while Everdell is cocooned in reverb valley.

It appears THE HUNDRED IN THE HANDS are venturing into territory once occupied by Warp label mates BROADCAST who were fronted by the late Trish Keenan. The duo themselves have said ‘Red Night’ is centred around “all heartbreak and fear of losing something special”


‘Red Night’ is released through Warp Records on 12th June 2012, while ‘The Desert’ and ‘The Hundred In The Hands’ are still available via the usual outlets.

http://thehundredinthehands.com

https://www.facebook.com/thehundredinthehands

https://twitter.com/TheHundredInThe

https://www.instagram.com/thehundredinthehands/


Text by Chi Ming Lai
3rd June 2012, updated 4th June 2012

2010 End Of Year Review

The Year Of Transistors

“Synthesizers can be explored and explored, and the music that can be made with electronic instruments is infinite in its breadth. KRAFTWERK may have said ‘we are the robots’, but anyone need only listen to Trans-Europe Express and compare it to most of the turgid, boring guitar-based rock that has been produced over the last 30 years to realise that electronic music can be deeply emotional. And anyone who says electronic music is not real music is just too simple-minded for our patience I’m afraid!MIRRORS

2010 saw the return of the male synthpop act, smart boys with their toys and their nods towards the classic era of Synth Britannia.

Leading the way were VILLA NAH and MIRRORS who both fused quality songs with vintage sounds and crisp contemporary percussive frameworks. The two units were obviously pressing the right buttons as both opened as special guests to OMD. As a continued sign of their undoubted potential, both were also were invited to support THE HUMAN LEAGUE; an opportunity which unfortunately neither act was able to fulfil due to prior scheduling commitments.

Coming from Finland, VILLA NAH released one of the best long players of the year in ‘Origin’, while closer to home, Brighton-based MIRRORS’ forthcoming album ‘Lights And Offerings’ is likely to be one of the musical highlights of 2011.

Meanwhile HURTS, the enigmatic Mancunian duo who many predicted for major success in 2010, rattled the cages of the style over substance brigade.

Whilst the cinematic grandeur displayed in their best songs like ‘Wonderful Life’, ‘Stay’ and ‘Sunday’ was simply outstanding, they did occasionally walk a fine line with their milder paced material, sounding occasionally like TAKE THAT backed by ULTRAVOX. Despite confusing some listeners, their album ‘Happiness’ was an enormous grower and their live shows won over many new fans, especially on the continent where artful intelligence is a highly regarded attribute.

Interestingly, TAKE THAT themselves released their album ‘Progress’ with Stuart Price aka LES RYTHMES DIGITALES at the producer’s helm.

Featuring a strong electronic flavour, there was also a song called ‘Eight Letters’ based on ‘Vienna’ which resulted in the rather unusual credit ‘written by Barlow / Donald / Orange / Owen / Williams / Ure / Cross / Cann / Currie’!

Attracting cult followings in 2010 were DELPHIC and CHEW LIPS. DELPHIC captured the Factory Records aesthetic of the mutant disco pioneered by NEW ORDER and A CERTAIN RATIO, but were unable to attract mainstream recognition probably due to their reliance on grooves and jams rather than actual songs… they can only get better with time.

CHEW LIPS are YEAH YEAH YEAHS with synths and while they had several brilliant numbers in their cannon, not all were included on their rather short debut album ‘Unicorn’. This didn’t allow them to play to their strengths on record although this was fully exploited in their live show. Again, they will learn.

And not wishing to get wholly involved in the main skirmish, THE SOUND OF ARROWS maintained a low profile while recording their debut album in London but delivered some impressive concert showcases of their lush Nordic musicality. Their optimistic and aspirational ‘Disney meets Brokeback Mountain’ tone may be the fresh approach to electropop in 2011.

Kookiness was the order of the day with the raven haired beauties MARINA & THE DIAMONDS and EMILIE SIMON. Marina Lambrini Diamandis kept the spirit of SPARKS alive with some fe-Mael intuition on her superb debut ‘The Family Jewels’ while EMILIE SIMON crossed the channel for some ‘one girl and her synth’ shows to fill the gap left by the absence of LITTLE BOOTS in 2010.

As could have been expected after the promotional lash of last year, Victoria Hesketh took a break before starting work on her new album. Hertfordshire’s SUNDAY GIRL could be the next lady-in-waiting providing she can expand on the very promising material like All The Songs and Stop Hey! that was premiered in the latter part of the year.

Meanwhile LA ROUX toured the world and recorded a ‘Stones cover ‘Under Your Thumb’ for the ‘Sidetracked’ influences DJ mix compilation before giving old mate SKREAM the iTunes bonus track Saviour for a dubstep rework as Finally and guesting with CHROMEO. However, Elly Jackson appears to have forgotten that No.1 rule of not biting the hand that feeds you by exclaiming “… I don’t want to make synth music for the rest of my f*cking life!” and declaring the electropop genre “over”!

In the battle of Synth Britannia, OMD released their first collection of new material for 14 years while THE HUMAN LEAGUE delayed their full album return until 2011. THE HUMAN LEAGUE have the backing of electronic music guru Mark Jones’ Wall Of Sound label and thus far have played a ‘less is more’ approach.

Despite not having an official website until this year, some clever viral marketing sent interest in their single ‘Night People’ sky high and provided good business for their now almost traditional Christmas UK tour.

While OMD’s ‘History of Modern’ album had several outstanding tracks worthy of comparison with past glories, it was confusingly launched with an Aretha Franklin mash-up that wasn’t on the final tracklisting and a nauseating Britpop pastiche as lead single. Ironically one of the statements made in its sleeve notes was “Modern is not… Oasis”!

It was as if audiences who had traditionally been sceptical of the whole synthesizer axis were now being targeted.

However, electronic pop’s spiritual homeland of Germany welcomed OMD back like one of their own and respectable business for ‘History of Modern’ was generated.

A-HA though are proof that consistently high quality new material is still a possiblity 25 years after your commercial heyday with the focus of their final album ‘Foot Of The Mountain’ very much on their synthesizer roots. In late 2010, they bid farewell with a final tour and a superb double CD compilation called ’25’ which featured not only their hits but the best of their much under valued album tracks.

Among the acts celebrating their legacies, HEAVEN 17 enhanced their reputation no-end by participating in a brilliant BBC6 Music collaboration with “the falsetto from the ghetto” LA ROUX.

And if that wasn’t enough, they had not one but two BBC TV programmes featuring their highly regarded album ‘Penthouse & Pavement’ including their triumphant Sheffield Magna gig.

HOWARD JONES didn’t look a day older, proving that a vegetarian diet and a clean living spirituality was the key to eternal youth! He played ‘Human’s Lib’ and ‘Dream Into Action’ in full for the first time at Indigo2.

Former sparring partners ULTRAVOX and JOHN FOXX played very different types of live shows in 2010. ULTRAVOX almost went back to basics with the retrospective ‘Return To Eden 2’ tour while JOHN FOXX curated an audio/visual extravaganza at the Short Circuit Festival featuring a deluge of analogue synths and some new material to a mixed reception.

DEPECHE MODE completed their ‘Tour Of The Universe’ and capped it all with a special show at the Royal Albert Hall for The Teenage Cancer Trust where Alan Wilder was reunited with the band for the first time in 16 years during the encore of ‘Somebody’.

It was an emotional night for many including the band. Does this lay out the foundations for, if not a reunion, at least some future work together?

GOLDFRAPP returned with ‘Head First’, a mid-Atlantic AOR styled electronic romp that had echoes of ABBA, LAURA BRANIGAN and OLIVIA NEWTON-JOHN. Some found it uninspiring but what could not be denied was the catchiness of the tunes. Given time, it will become a future guilty pleasure.

Meanwhile LADYTRON prepared a career spanning compilation Ladytron ’00-10′ to reinforce their reputation as one of the key electronic based acts of the last decade but they began the year contributing a pair of excellent bonus tracks to CHRISTINA AGUILERA’s album ‘Bionic’ in ‘Birds Of Prey’ and ‘Little Dreamer’.

Swedish songstress ROBYN continued her feisty independent spirit by releasing her ‘Body Talk’ trilogy and the excellent single ‘Dancing On My Own’, while both LADY GAGA and KYLIE kept electronically produced pop in the mainstream consciousness.

Across the water, New York’s THE GOLDEN FILTER added a crisp vibe to the electronic dancefloor via some dreamy Scandinavian influences and frantic tribal percussion while their neighbours THE HUNDRED IN THE HANDS brought a mechanised twist to new wave on their self-titled debut. And for the perfect after party soundtrack in the Big Apple, ARP provided some gorgeous modern day ambience with the album ‘The Soft Wave’.

Meanwhile, another North American based duo LOLA DUTRONIC relaunched their brand of dreamy Gallic flavoured electro-lounge pop with the ‘Musique’ EP.

Elsewhere internationally, the vivacious SHH became the latest in a line of Argentine musicians basing themselves in London for an assault on the UK and European market while Texans HYPERBUBBLE brought their own ‘bionic bubblepunk’ with the impressive ‘Candy Apple Daydreams’. MARSHEAUX had a quiet year, only releasing a cover of BILLY IDOL’s Eyes Without a Face for an Amnesty International compilation.

Promising newcomers VILE ELECTRODES steadily gained fans on the London club circuit with their mix of fetish porn and analogue synths while following some line-up changes, THE VANITY CLAUSE finally released their first album ‘Fractured’.

And the quirky Sheffield based duo THE CHANTEUSE & THE CLAW unleashed a superb debut single in ‘Are You One?’.

Overall in 2010, the spark generated by the new generation of synthesizer acts and the willingness of others to incorporate more electronic sounds into their work accounted for yet another productive year with the heritage acts also getting the cultural recognition they fully deserved. Ever supportive, The Guardian even featured a piece on the older incarnation entitled Forgive Us Our Synths which interestingly was almost two years after their prophetic Slaves To Synth article hit the public consciousness.

There were more quality albums and live shows of interest to the electro fan than in many years past with acts such as MIRRORS, VILLA NAH and HURTS fulfilling the role of worthy successors to the classic Synth Britanniageneration. Hopefully, other acts will be following in their footsteps. In fact, despite being ignored by the BBC Sound Of 2011 and New To Q listings which appear to have been locked into some evil parallel universe where good taste does not seem to reside, “… fey, gay, pseudo-intellectual synth b*llocks” still rules!


ELECTRICITYCLUB.CO.UK Contributor Listings Of 2010

STEVE GRAY

Best Album: TENEK On The Wire
Best Song: HURTS Unspoken
Best Gig: DEPECHE MODE at London Royal Albert Hall
Best Video: MIRRORS Ways To An End
Most Promising New Act: MIRRORS


CHI MING LAI

Best Album: VILLA NAH Origin
Best Song: MIRRORS Ways To An End
Best Gig: HEAVEN 17 at Sheffield Magna
Best Video: HURTS Wonderful Life
Most Promising New Act: THE SOUND OF ARROWS


RICHARD PRICE

Best Album: HURTS Happiness
Best Song: OMD History Of Modern (Part I)
Best Gig: THE HUMAN LEAGUE + HEAVEN 17 at Galway Festival
Best Video: HURTS Stay
Most Promising New Act: MIRRORS


JOHAN WEJEDAL

Best Album: PAGE Nu
Best Song: POLAROID MILITIA Astana My Hero
Best Gig: PAGE at Gothenburg Synthklubben
Best Video: VILE ELECTRODES Deep Red
Most Promising New Act: THE GIRL & THE ROBOT


Text by Chi Ming Lai
28th December 2010