John Foxx and Steve D’Agostino supported by visual artist Karborn gave a live world premiere of their latest work ‘Evidence Of Time Travel’ for The British Film Institute as part of their ‘Sci-Fi: Days Of Fear & Wonder’ season at London’s South Bank.
Described as “a unique investigation of the terrors and pleasures of temporal displacement. A sinister sonic architecture of drum-machine-music and analogue synthesizers”, the stoic ‘Film One’ from the B-side of ‘Underpass’ is perhaps a good reference point to those more familiar with John Foxx’s song based work.
However, even that number sounds like a pop tune compared with much of the material that makes up ‘Evidence Of Time Travel’. Less immediate than its cousin and audio visual predecessor ‘B-Movie (Ballardian Video Neuronica)’, this live presentation put the work into context with Karborn’s cut-up images and specially filmed sequences providing an appropriate backdrop for a drum machine dominated soundtrack.
A well attended event, the audience appeared to fall into two distinct categories; the minority were youngsters who appeared to be film school students while judging by the sea of bald heads and grey hair, the majority were John Foxx enthusiasts, unsure if this was a gig or a movie. Whatever, a number couldn’t resist attempting to clap whenever the things went a bit silent as part of the show.
Photo by Chi Ming Lai
In some ways, this was very much a gig with Foxx positioned at the front doing octave shifts and attacking sweeps on his Roland workstation while D’Agostino handled an Organ Energizer semi-modular synthesizer, effects and electronic percussion. The addition of dialogue samples provided a distinct variation from the recorded version of ‘Evidence Of Time Travel’.
Meanwhile the wonderfully reverbed snakey Compurhythm CR-78 which provided the backbeat for the album was exploited to full surround effect in the theatre and still sounded very Sci-Fi despite a vintage of over 35 years.
‘Impenetrable Inevitable’ in particular came over like a futuristic crime thriller theme while ‘Collision Architecture’ had its haunting overtones enhanced further by a monochromatic screen test of a raven haired beauty broadcast in flickering UHF. The closing ‘Empty Clothing Blows Across a Beach’ provided a fittingly minimal but disturbing ambience, but its lengthy build and conclusion again confused those desperate to show a more conventional mode of appreciation after the 44 minute set.
A presentation such as this is tricky to pull off in a traditional pop art manner, certainly with the absence of vocals and lighting focussed on the performers. But ‘Evidence Of Time Travel’ successfully made sense with its accompanying visuals.
Anyone familiar with the films used during previous John Foxx live shows would have appreciated the tastefully collaged images of men in suits, Renaissance sculptures and distorted lines to go with the stark music.
With thanks to Steve Malins at Random PR and Rob Harris at Metamatic
‘Evidence Of Time Travel’ is available on CD and vinyl via Metamatic Records
Following a break from the music scene (by his recent prolific standards!) during which he has been made an Honorary Doctor of Philosophy at Edge Hill University, John Foxx has released not one but two instrumental albums.
Both releases feature artwork by Jonathan Barnbrook using images created by visual artist Karborn. The first release is ‘Evidence Of Time Travel’, a collaboration with Steve D’Agostino. The music is described as “is a unique investigation of the terrors and pleasures of temporal displacement. A sinister sonic architecture of drum-machine-music and analogue synthesizers”.
Based on the evidence presented so far, the soundtrack of chattering Compurhythm and shrieking string machines on pieces such as the primitive drum ‘n’ bass of ‘Rhapsody In Flames’ and the dystopian sequence rush of ‘The Forbidden Experiment’ will please any long standing enthusiast of John Foxx. There will be a special live event at The British Film Institute in November to coincide with the release.
D’Agostino also appears on the second of these releases ‘B-Movie (BallardianVideo Neuronica)’, collaborating on the track ‘Disaster Series’. And while this album is largely a Foxx solo offering, Chief Mathematician Benge features on ‘Geometry, Collision & Coincidence’.
Ranging from the deviant technopop of ‘Crash Course’ to the sombre ambience of ‘The Other Side’, the music reflects the cut-up / collage nature of the same titled short movie assembled by Foxx and Karborn. Inspired by British writer JG Ballard whose books include ‘Crash’ and ‘Empire Of The Sun’, the work was premiered as part of Brighton’s ‘Cine-City’ festival in late 2012.
It seems bizarre now that following his below par LP ‘In Mysterious Ways’ in 1986, Foxx effectively retired from the music industry until his 1997 return ‘Shifting City’ with Louis Gordon. Compare that to 2013 which saw John Foxx releases with THE MATHS, JORI HULKKONEN and THE BELBURY CIRCLE plus the curation of the ‘Exponential’ covers EP featuring GAZELLE TWIN and I SPEAK MACHINE.
And all this is without mentioning the remixes for OMD and SIMPLE MINDS or the ‘Metadelic’ and ‘In The Glow’ retrospectives. Another John Foxx release ‘Electricity & Ghosts’ is scheduled for 2015.
‘Evidence Of Time Travel’ and ‘B-Movie (Ballardian Video Neuronica)’ both get a general release on 6th October 2014 via Metamatic Records
‘Evidence Of Time Travel’ will be premiered at a special live performance for The British Film Institute as part of their ‘Sci-Fi: Days Of Fear & Wonder’ season on 21st November 2014; details can be found at: www.bfi.org.uk
Minimal synth duo XENO & OAKLANDER release their fourth album ‘Par Avion’ this summer and as can be fathomed from the title, it sees them in comparative holiday mode.
The songs have been described by the pair as “postcards of love for a cold age — shimmering moments from the present, romantic messages from the past, and love mementos for the future”.
While Liz Wendelbo and Sean McBride retain their trademark combination of analogue trickery and unorthodox vocals, best showcased on ‘The Staircase’ from their last album ‘Sets & Lights’, this release on Ghostly International expands the template with a more expansive but still spacious sound. Icy string machines sit next to synergetic arpeggios and clattering drum machines in an exotically modern sound environment as both proven by the glistening offerings of ‘Sheen’ and ‘Providence’.
This new album’s aural diversity from upbeat to downbeat, slow to fast and light to dark comes as a half hour conceptual ode to synesthesia ie the union of the senses. As singer Liz Wendelbo explained: “Sound makes me think of a scent, which makes me think of an image, which makes me think of a certain kind of light”
The duo supported JOHN FOXX & THE MATHS at London’s XOYO in 2011 and the Brooklyn based pair were notable for their array of vintage instrumentation that included several Roland SH101s, a Roland RS09, Korg KR55 Rhythm Box, TR808 and an Oberheim SEM. This complex armoury provided for a frantically tensile approach that included manually operated percussion fills and some additional authentic Europeanism in the form of Wendelbo’s wispy Franco / Norwegian charm.
So ‘Par Avion’ is indeed looser than XENO & OAKLANDER have ever been before. ELECTRICITYCLUB.CO.UK spoke to the duo’s Sean McBride about how they made their new album fly…
Your new album ‘Par Avion’ has been described as an ode to synesthesia. What conscious decisions were there to make it different from ‘Sets & Lights’?
At the outset of recording this album, Liz was engaged in developing several perfumes, ‘Eau de Xeno’, hence synesthesia. There was never a conscious decision to do something different. There were of course newfound synthesizer processes that we wanted to employ and expand on. As our music largely grows out of live performance, this new material, in part, emerged out of the interstitial moments between the set of songs we were playing live, namely the songs from ‘Sets & Lights’.
For instance, ‘Sheen’ grew out of the bridge linking ‘Sunday’ with ‘Blue’. After which we form them into structured pieces. So in a sense ‘Par Avion’ was squeezed out of the gaps of ‘Sets & Lights’. There is an internal logic integrated into not only the new album but also our entire catalogue. ‘Providence’ and ‘Reflections’ function as soundtracks within, and to this album and this logic.
‘Interface’ appears to have a more expansive audio spectrum than before?
We were really interested in a sonic thickness – elongated and dense walls of frequency modulated harmonic noise mixed with glassy string clusters and voltage controlled analog delay feedback – not necessarily a move away from the age-old syncopated arpeggios of our older material, but a stretching out and a kind of liquefaction of these elements.
The ‘Par Avion’ title track possesses a wispy dreamy romance alongside the more unorthodox sounds while the excellent ‘Sheen’ is quite bouncy yet smothered in ice and seems to nicely sum up the concept of the album. What would you consider the key tracks on ‘Par Avion’?
I think more important than “key tracks” would be “key processes” and so I would say that FM synthesis is that key process. We used between 10 and 15 oscillators, we relied less on filters and patched the oscillators directly to the VCA (amplifier) only using analog delays to cut high frequency distortion. With this we were able to achieve everything from wall of sound dreamy guitar noise (‘Sheen’ and ‘Lastly’) to tremulous bouzouki timbres (‘Par Avion’).
How would you describe your creative dynamic during writing and recording, particularly with regards to who takes lead vocals etc?
Mostly conceived during the live performance ‘bridging’ of songs, the recording process is very straightforward, as I am controlling the rhythmic, bass and chordal elements, Liz is producing melodies and atmospheres, both with synthesizers as well as her voice. Liz typically sings to begin with, as I can then adjust the harmonic structure around her and she around me. All of the music is recorded in one take – apart from the fact that all of the instruments require the clocked master pulse (often coming from a Roland system 104 or TR 606 or Korg KR 55), we want the songs themselves to be a registration of a particular performance of a particular moment in time. Perhaps not the most apt comparison, but we would rather work with clay than with Legos.
Have your various solo projects as LIZ & LASZLO and MARTIAL CANTEREL had much of an effect on your approach to this album?
Liz sang on some of our friend Xavier’s songs (LASZLO, AUTOMELODI) and played string synths – as such I do not think it informs XENO & OAKLANDER so much, it’s a fun collaboration, whereas MARTIAL CANTEREL abides by, albeit solitarily, the same essential ethics and processes as XENO & OAKLANDER; so certainly there are a great deal of borrowed ideas, structures, and elements.
However, when working with another, the art of listening to the other becomes much more critical in importance – a synergy, a counterpoint. Also, Liz brings to X&O an aesthetic vision, a synesthetic vision – so her solo work with perfume, film and photography is central to our project’s universe.
How did you originally become interested in forming a project consisting exclusively of electronic instrumentation? Who were your main influences musically and culturally?
In the early 90s, I acquired a Korg Monopoly, Oberheim SEM and a SC Prophet 600, a SC Tom and an SC Drumtraks. I realized that there were archaic, pre digital ways to interface these instruments with one another. So simply as we acquired more, the studio became one large holistic, interfaceable, synergistic instrument – to borrow a term from Chomsky’s generative grammar, a discrete infinity of possibilities.
There was little need to bring in other instrumentation outside of the realm of voltage control – what little we have brought in over the years (trumpet, guitar, ethnic percussion) has been a playful highlight of the very thing it is playing alongside of – the synth studio. As goes influence, everything from Baroque to 60s psych to 80s Italian industrial and beyond… We are particularly interested, though, in the music and those projects which involved similar synthesizers to what we use, especially those who utilized synthesizers during their nascence – ca. 1964 to 1984.
You’ve acquired a Serge Modular? Why one of those as opposed to any other modular and how have you found it to use?
I acquired the Serge 6 years ago and for me as, a unit, it is the most densely complex synthesizer I have ever used. The synthesizer wizardry lies in that the modules can have a multitude of different functionalities, its size, the mode of patching (banana jacks) and most importantly, the incredibly stable tuning of the unit. The Wave Multiplier section within my Serge system is perhaps a favorite function – sine waves rectified at odd number harmonic intervals.
However the Serge is just an element of a greater instrument – the multitude, the many interconnected synthesizers we use. So what is being played is not just the Serge, but 3 or 5 or 8 other synthesizers all patched together, talking to one another, at times ignoring one another. Funnily enough the Serge appeared more on Sets and Lights than on Par Avion…
The Roland SH101 appears to be one of your favourite instruments; what is it about is versatility / limitations that makes it an important part of the XENO & OAKLANDER sound?
The SH101s – we have 5 – for me, are used simply as controller keyboards to play either the Serge, 2600s, Eurorack system etc., and Liz largely uses them for atmospherics, noise percussion, and auxiliary bass overtones. The SH101’s greatness lies in the fact that it is so lightweight, and as such, makes touring with a complete analogue synthesizer set-up possible. The clockable arpeggiator and the built-in scratchpad sequencer are added perks.
You’ve acquired a vast number of synths and devices over the years, are there any interesting stories you can tell us with regards some of their little eccentricities and quirks?
I brought the Serge with me to Copenhagen in 2010 as checked-in baggage, and after unpacking it and soundchecking, I realized that the oscillators were as I left them in New York – perfectly tuned.
Is there an instrument you’d like to have that you don’t already own yet?
More Serge modular and maybe a Wersi Alpha DX 300.
You’ve adapted the live set-up to use more modern technology to control the older synths. Did you have any artistic manifesto dilemmas to consider or was it a no-brainer in terms of practicality?
As we want the distinction between studio practice and live performance to collapse as much as possible, physical weight, size and durability become key. For the last three years we have used a hodge podge of eurorack modules fitted into a very portable carrying case. This allows us to match, let’s say, the functionality of the Serge or Roland System 100 in a relatively inexpensive and portable unit. While the manufacturers of yesteryear used higher calibre electronics and materials (military grade circuitry, leather tolex, brushed steel) the simple dimensions and weight of these instruments precludes using them live without a substantial road crew, an army of assistants.
Also within the eurorack format, one can very easily customize and swap out the modules within a case to the needs of the day – MARTIAL CANTEREL uses one grouping of modules, Xeno another. I have toured with the Serge and ARP Odyssey several times – the Serge’s power supply weighs more than the synth itself – however they no longer provide the most bang for what one human being can carry – especially across Europe – trains, planes, automobiles.
So are you darkwave, synthpop, electro, EDM or minimal synth? Do classifications such as these really matter in the end?
These terms do not matter to me. They are only important for the Historicists and as eBay LP auction keywords. We’ve used the term ‘Minimal Electronics’ over the years to describe our music, although with our new album ‘Par Avion’, the minimal has perhaps changed to maximal.
ELECTRICITYCLUB.CO.UK gives its sincerest thanks to XENO & OAKLANDER
Special thanks to Steve Malins at Random PR
‘Par Avion’ is released in LP, CD and digital formats by Ghost International. A special edition flesh coloured vinyl version, limited to 350 hand-numbered copies with a rose-scented art perfume insert will be available soon
GAZELLE TWIN premiered her new album ‘Unflesh’ with a special performance at Birthdays in London’s trendy Dalston district.
The live presentation showcased a heavier sound that has distinctly moved away from the cinematic hauntronica of debut album ‘The Entire City’ and interim EP ‘Mammal’.
The moniker of Elizabeth Bernholz, GAZELLE TWIN has acquired an impressive host of admirers and collaborators including John Foxx, Gary Numan and Clint Mansell. ‘Unflesh’ has with artistic violence allowed the Brighton based songstress to exorcise her demons.Indeed, the closing number of the evening is appropriately titled ‘Exorcise’; an impressively aggressive cross between PINK FLOYD’s ‘One The Run’ and KRAFTWERK’s ‘Home Computer’, it is accorded some extra uneasy resonance by Bernholz’s deadpan commentary.
Clothed in a school-blue goodie with a head stocking and brown wig replacing the mysteriously veiled Elephant Woman look of her shows supporting JOHN FOXX & THE MATHS in late 2011, GAZELLE TWIN’s new material has a more threatening intent, focussing on the more industrialised template introduced by ‘Belly Of The Beast’ and new single ‘Anti Body’.
The ‘Unflesh’ title track and ‘I Feel Blood’ are even barer but no less unsettling while ‘Guts’ follows a similar path but adds an almost PRINCE-like funk groove. Indeed, much of the material on ‘Unflesh’ is strangely danceable…
Elizabeth Bernholz kindly spoke with ELECTRICITYCLUB.CO.UK before her ‘Unflesh’ showcase to discuss her latest incarnation of expression.
How would you describe the differences in the way you’ve conceived ‘Unflesh’ compared with ‘The Entire City’ and the ‘Mammal’ EP?
The writing process has simplified. I restricted myself so that I ended up with a more direct and quite a lo-fi sound. There are connections with ‘The Entire City’, the first full length thing I ever wrote and produced, but the relationship with ‘Unflesh’ is minimal. It has been written very much with live performance in mind.
Titles such as ‘Unflesh’, ‘Belly Of The Beast’, ‘Guts’ and ‘Anti Body’ indicate you still have metaphysical concerns?
That’s something I can’t switch off. But I don’t want to. There are rarely moments where I’m not considering the wider meaning of all things, on a day to day basis. I’ll make a sandwich and think of the former life of all the ingredients, all these particles that are being slammed together to ultimately end up as my sh*t…
I like that sort of thought process. I’m hypersensitive to everything around me all the time. This is not always useful. I suffer from anxiety and have numerous phobias that mostly arose from childhood. I have overcome most of them through making music, and this record is very much a continuation of that process.
The ‘Unflesh’ project has been supported by a striking audio / visual component. The faceless girl in the school-blue sportswear… is the character in any way autobiographical?
100%. It’s from a memory of school, 16 years ago. I chose to confront a difficult experience from that time, by re-embodying it. The difference is that this time I’m in control. A pretty simple exercise in self-help when you think about it… people will continue to be baffled and weirded-out by it, but that’s OK. That’s the fun part of it. That makes me want to do it even more.
When we last spoke, you described recording an album as being “a bit like doing a thesis”. Has that still been the case with ‘Unflesh’?
I researched anatomy – more as a hobby than being very academic about it. I’m especially interested in disease and mutations in nature. I have always enjoyed finding rhymes in nature – in structures, behaviours, rhythms etc. I also researched a lot of artists and artworks that deal with similar themes. I find doing this really rewarding and enlightening. There is so much out there to absorb.
Since ‘The Entire City’ was released, THE KNIFE returned with the uncompromising ‘Shaking The Habitual’. What did you think of it and has it has any bearing on your own artistic directions for ‘Unflesh’?
I had pretty much finished writing most of ‘Unflesh’ by the time ‘Shaking The Habitual’ came out, but I love that album of course and proudly align myself with its stance on politics, including the politics of performance art and how gender is dealt with in popular culture. Uncompromising is the key. They are one of the best conceptual performance groups out there right now. I wish there were more.
Claire Boucher aka GRIMES fedback to you about the demo of ‘Anti Body’. I SPEAK MACHINE aka Tara Busch has also reworked ‘Anti Body’. Do you feel an affinity with any of the current crop of female artists in electronic music?
I am asked this a lot… I guess because I am openly challenging the gender issue in performance. In the end, my interest is only in ideas. I might feel a great affinity with a very aggressive, masculine, male performer like Stefan Burnett (DEATH GRIPS) as well as a female artist who is exploring similar territory.
I think it’s important not to make the distinction about gender being the reason behind it. Over emphasis can sometimes push the divide even further. I fully support other artists who are female of course, and I stand firmly behind the feminist and the LGBT debate which is very important to keep in the forefront of the mind.
GAZELLE TWIN, in its very essence, began as statement against a commercially driven world (and music industry), which constantly wants to remind me of my own sex and tell me what I’m supposed to do with it.
Your musical connections with JOHN FOXX & THE MATHS and the MemeTune collective have led to further collaborations with people such as Stephen Mallinder via the WRANGLER project. You’re building up quite an impressive CV of collaborators?
It’s insane… I was thinking about some of the people I’ve encountered or worked with over the last year and I’m incredibly lucky to have had introductions to legendary figures like John and Mal, and also GARY NUMAN. It’s heavily down to my manager Steve Malins who is the chief orchestrator of all these connections and is really talented at connecting people very naturally, from very quite different backgrounds. Robin Rimbaud (aka SCANNER) has also introduced me to some amazing people too, such as WIRE’s Colin Newman and Chris and Cosey of THROBBING GRISTLE. All of this is a privilege and I’m very grateful for that, but long may it continue.
I visited MemeTune a few months back and was strangely drawn to the Polymoog… was there a particular instrument or device that you saw out of the vast collection at MemeTune that particularly fascinated you?
Every time I go there, I notice something new and become lost in the awe of all these incredible instruments surrounding me. Of course I am impressed with the rare synths like the CS80 and the enormous wall of modulars, but the thing that blew me away most of all was actually the simplest… The Plate Reverb – which is just a huge wooden box containing one sheet of metal, an amp and a dampener, with one big metal dial on top to change the tension of the metal. You turn it on from downstairs in the studio and can hear everything going through it upstairs. It’s really, really incredible.
You’re known for experimenting with vocal processing in your music. Have there been any new techniques that you’ve discovered which have shaped this album and perhaps your approach to live work.
The majority of my new material is about spoken and often whispered lyrics rather than sung. There’s a certain skill to achieving that in a live setting because it requires a different kind of performance. In contrast, I have also included a lot of chest voice passages which feel great to perform. I have tried to emulate techniques from Bulgarian Folk singers for these elements, bending my voice into new shapes. There’s still a fair amount of processing going on in this record, but it’s more upfront than anything I have done before.
You’re playing live to showcase the album. How do you feel about live work? Is it something you want to do, or feel you have to do?
Performing live requires so much effort. Not just working the songs into a live format, then rehearsing over and over and over again (which I really hate), but to then have to get through the nerves, deal with the gamble of the sound being alright after soundcheck (it SO often isn’t), and then to recover quickly after all that stress and do it all over again… It’s a hard job, but I consider it a challenge. I do want to perform more and try to garner more satisfaction from the process.
What are your hopes and fears for the future?
Good Health / Bad Health (respectively)
ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Elizabeth Bernholz
Special thanks also to Jeff Schofield at Type PR
‘Anti Body’ is released by Anti-Ghost Moon Ray / Last Gang as a digital download and limited 12″ vinyl. It features the exclusive track ‘Phobia’ plus remixes by WRANGLER and I SPEAK MACHINE
‘Unflesh’ will be released later in 2014
Forthcoming GAZELLE TWIN 2014 live appearances include: St Gallen Grabenhalle (28 May – with PLANNINGTOROCK and BERNHOLZ), Hamburg Vogel Ball Festival (2nd August) and Glasgow Old Fruitmarket (3rd October – with WRANGLER and SCANNER)
Multi-instrumentalist singer / songwriter Hannah Peel launched her new ‘Fabricstate’ EP with a special intimate gig at MemeTune Studio, home of chief Mathematician Benge and his renowned collection of vintage synthesizers.
It also happened to be where her second album is currently being recorded. In the complex, which was the venue for interviews with Gary Numan and John Foxx as part of BBC4’s Synth Britannia documentary, were various items of vintage equipment dotted around the room such as the Polymoog and Korg Polyphonic Ensemble; it was a perfect setting to showcase Hannah Peel’s newly developing sound that has mutated to more experimental climes since her traditionally structured debut album ‘The Broken Wave’.
Since playing with the JOHN FOXX & THE MATHS live band, her own music has used more electronics alongside her beloved violin, piano and trombone. Her last EP ‘Nailhouse’ featured a beautiful synth friendly song called ‘Harbour’. Of course, Hannah Peel’s own sweet contemplative voice has also suited these melancholic synthetic soundscapes.
‘Fabricstate’ itself has been influenced by Hannah’s love of classic cinema and Italo Calvino’s 1972 book ‘Invisible Cities’ with the imagined travels of Kublai Khan, through to the loneliness felt by living in big cities, the failure and building of new relationships and to dreams of a better future.
So it was apt that the performance opened with ‘Chloe’, the theme tune to ’Dates’, a drama series highlighting the darker but very real side of internet dating… it deservedly won a 2013 Royal Television Society award for Best Original Title Music and its eerie dynamic suitably reflected the tension of the programme.
The haunting ‘Silk Road’ with its Middle Eastern afflicted vocal was ideal for the hushed environment of an intimate setting. Clavia Nord ivories rang gently while arpeggios blipped over subtle rhythmical samples that provided the heartbeat.
Upping the tempo and rumble, ‘Desolation Row’ and its beautifully haunting tones saw brass and strings of both the real and synthetic variety combining for a wonderful uplifting quality despite the inherent melancholy.
There was then a surprise when Hannah announced she was going to perform a music box assisted cover of THE BLUE NILE’s Paul Buchanan from his recent ‘Mid Air’ solo opus. But tied to her synth duties, she invited a member of the audience to join her. Together, they produced a rather lovely electro acoustic take of an already beautiful song. It is slated to be included on her next album. ‘Baucis’ from the ‘Nailhouse’ EP stirred proceedings slightly after the sedate atmospheres of ‘Cars In The Garden’ with its expletive laden first verse but the best was yet to come.
So with its thoughtful use of synths and loop pedals, ‘Fabricstate’ the song went and stole the show. A subtle understated number in its first half, the song was bolstered by an unexpected but amazing whirring solo on a DS Mopho x4 as things built to a percussive climax with clusters of accompaniment from the various loops. It was a suitably climatic ending to a fine, captivating performance.
The ‘Fabricstate’ collection is without doubt, Hannah Peel’s best solo work yet. A fine example of what happens when the warmth of the synthesizer is exploited and coupled with a classically trained background, the hybrid style has resulted in a quietly subversive organic and technological fusion. Based on the evidence of tonight’s showcase, her second album is going to be a fascinating listen.
ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Hannah Peel
The ‘Fabricstate’ EP is available as a 10” vinyl and download via My Own Pleasure
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with a special intimate gig at MemeTune Studio, home of chief Mathematician Benge and his renowned collection of vintage synthesizers. 
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