Having released 21 albums since 1982, Swedish veterans TWICE A MAN have never been ones to shy away from serious issues.
The trio’s superb 2015 song ‘High in The Clouds’ confronted the prospect of environmental armageddon aided by the eerily beautiful voice of Karin My.
Having ventured down the ambient route with ‘Cocoon’ as a kind of interim solace following the release of the ‘Presence’ album from which ‘High In The Clouds’ came, TWICE A MAN have literally come out of the woods and found the world in a state of corrupt turmoil.
Like a delayed ‘1984′ with misinformation and paranoia everywhere and eugenics being pushed through the backdoor by right wing governments using the current pandemic crisis as a smokescreen and capitalism as its reasoning, TWICE A MAN highlight this increasingly dystopian situation emerging in front of everyone’s eyes on ‘On The Other Side Of The Mirror’.
Led by Dan Söderqvist with Karl Gasleben and Jocke Söderqvist providing the dark gentle storm of sound, the opening ’Breath’ exudes brooding industrial moods and sombre vocals, with chilling string machines enhancing the melancholic alienation.
But ‘Fireflies’ utilises ethnic percussive flavours and the return of Karin My to feed the claustrophobic air with Lampyridae acting as deadly symbolism for the end of future dreams.
The sinister gothic militarism that accompanies ’Rain of Shame’ is deeply fitting; fuelling a combustive atmosphere, Söderqvist realises “this is not my world, this is not my time”.
However, a variation in tempo and construction time again makes a highlight of ‘Naked’ with its penetrating basslines and swirling dramatic overtures that echo imperial phase DEPECHE MODE.
The shortest track on the album at four minutes, ’Growing’ sees TWICE A MAN emulating Gary Numan but in a more abstract psychedelic fashion with a sound that also recalls ‘New Head’, OMD’s unusual collaboration with Simon Fung of CHINA BLACK from 1996.
Closing with ’Modern World’, this is another warning in the vein of ‘High In The Clouds’, an orchestrated epic featuring another heavenly Karin My vocal as a dense cacophony of textural guitars, haunting high register synths and thunderous drumming points towards a deadly apocalyptic darkness.
Perhaps more organic and even heavier in tone than ‘Presence’, ‘On The Other Side Of The Mirror’ however reflects a world “where fear is the face of reality”; it is not an easy listen, offering observations and ambiguity rather than answers.
Is there light at the end of the tunnel? Maybe there is, but that light could actually be an oncoming train! “Your future dreams are fireflies, you see them through your children’s eyes.”
2019 was a year of 40th Anniversaries, celebrating the synth becoming the sound of pop when ‘Are Friends Electric?’ reached No1 in the UK chart in 1979.
While GARY NUMAN opted for ‘(R)evolution’ and two of his former sidemen RRussell Bell and Chris Payne ventured solo for the first time, OMD offered a 7 disc ‘Souvenir’ featuring a whole album of quality unreleased material to accompany a concert tour to celebrate four decades in the business. That was contrary to DEPECHE MODE who merely plonked 14 albums into a boxed set in a move where the ‘Everything Counts’ lyric “the grabbing hands grab all they can” became more and more ironic… MIDGE URE partied like it was 1980 with the music of VISAGE and ULTRAVOX, while SIMPLE MINDS announced an arena tour for 2020 so that their audience could show Jim Kerr their hands again.
HEAVEN 17 announced some special showcases of the early material of THE HUMAN LEAGUE and got a particularly warm reception opening on tour for SQUEEZE as a trailer ahead of their own ‘Greatest Hits’ jaunt next year.
Celebrating 20 years in music, there was the welcome return of LADYTRON with a self-titled comeback album, while Swedish evergreens LUSTANS LAKEJER performed the ‘Åkersberga’ album for its 20th Anniversary and similarly GOLDFRAPP announced a series of shows in honour of their magnificent cinematic debut ‘Felt Mountain’.
Cult favourites FIAT LUX made their intimate live comeback in a church in Bradford and released their debut album ‘Saved Symmetry’ 37 years after their first single ‘Feels Like Winter Again’.
As a result, their fans were also treated to ‘Ark Of Embers’, the long player that Polydor Records shelved in 1985 when the band were on the cusp of a breakthrough but ended with a commercial breakdown.
Modern prog exponents Tim Bowness and Steven Wilson got back together as NO-MAN for their dual suite electronic concept record ‘Love You To Bits’, but an even more ambitious undertaking came from UNDERWORLD with their boxed set ‘Drift Series 1’.
After a short hiatus, the mighty KITE sold-out three gigs at Stockholm Slaktkyrkan and ended the year performing at an opera house, while GIORGIO MORODER embarked on his first ever concert tour where his songs were the stars.
Although their long-awaited-as-yet-untitled third album was still to materialise, VILE ELECTRODES went back on the road in Europe with APOPTYGMA BERZERK and THE INVINCIBLE SPIRIT. Meanwhile, Chinese techno-rock sextet STOLEN opened for NEW ORDER on their Autumn European tour and EMIKA performed in a series of Planetariums.
Despite the fall of The Berlin Wall 30 years ago, there were more evident swipes to the right than there had been for a long time, with the concept of Brexit Electro becoming a rather unpleasant reality. So in these more sinister times, the need for classic uplifting electronic pop was higher than ever.
To that end, three superb debut albums fitted the bill. While KNIGHT$ offered quality Britalo on ‘Dollars & Cents’, the suave presence of OLLIE WRIDE took a more MTV friendly direction with ‘Thanks In Advance’.
But for those wanting something more home produced, the eccentric Northern electronic pop of the brilliantly named INTERNATIONAL TEACHERS OF POP continued the artistic lineage of THE HUMAN LEAGUE.
QUIETER THAN SPIDERS finally released their wonderful debut album ‘Signs Of Life’ which was naturally more understated and Denmark had some worthy synthpop representation with SOFTWAVE producing an enjoyably catchy debut long player in ‘Game On’.
On the shadier side of electronic pop, BOY HARSHER achieved a wider breakthrough with their impressive ‘Careful’ long player but as a result, the duo acquired a contemporary hipster element to their fanbase who seemed to lack manners and self-awareness as they romped around gigs without a care for anyone around them. But with tongues-in-cheeks, SPRAY continued to amuse with their witty prankelectro on ‘Failure Is Inevitable’.
Photo by Johnny Jewel
Italians Do It Better kept things in house as CHROMATICS unexpectedly unleashed their first album for six years in ‘Closer To Grey’ and embarked on a world tour. Main support was DESIRE and accompanied on keyboards by HEAVEN singer Aja, the pair took things literally during their cover version of ‘Bizarre Love Triangle’ with a girl-on-girl kiss in front of head honcho Johnny Jewel.
Other ITIB acts on the tour dependent on territory included DOUBLE MIXTE, IN MIRRORS and KRAKÓW LOVES ADANA. But the best work to appear from the stable came from JORJA CHALMERS who became ‘Human Again’.
Dark minimalism reigned in the work of FRAGILE SELF and WE ARE REPLICA while no less dark but not so aggressive, WITCH OF THE VALE cemented their position with a well-received opening slot at Infest.
Touring in Europe with OMD and MIDGE URE, TINY MAGNETIC PETS unleashed two EPs ‘The Politburo Disko’ and ‘Girl In A White Dress’ as fellow Dubliner CIRCUIT3 got political and discussed ‘The Price Of Nothing & The Value Of Everything’.
2019 was a year of electronic instrumental offerings galore from NEULAND, RICARDO AUTOBAHN, EKKOES, M83, RELIEF, FEMMEPOP and OBLONG, although ERIC RANDOM’s dystopian offering ‘Wire Me Up’ added vocoder while BRIAN ENO celebrated the 50th anniversary of the first moon landing ‘For All Mankind’.
The King of Glum Rock LLOYD COLE surprised all with an electronic pop album called ‘Guesswork’ just as PET SHOP BOYS set an ‘Agenda’. HOWARD JONES released his most synthy work for years in ‘Transform’ and while CHINA CRISIS acted as his well-received support on the UK leg of his 35th Anniversary tour, their front man GARY DALY ventured solo with ‘Gone From Here’.
Sweden continued to produce quality electronic pop with enjoyable releases from the likes of MACHINISTA, PAGE, COVENANT, OBSESSION OF TIME and LIZETTE LIZETTE. One of the most interesting acts to emerge from the region was US featuring the now Stockholm-domiciled Andrew Montgomery from GENEVA and Leo Josefsson of LOWE, with the catalyst of this unlikely union coming from a shared love of the late country legend Glen Campbell. Meanwhile, veteran trio DAYBEHAVIOR made the best album of their career ‘Based On A True Story’.
However, Canada again gave the Swedes a good run for their money as ELECTRIC YOUTH and FM ATTACK released new material while with more of a post-punk slant, ACTORS impressed audiences who preferred a post-post-punk edge alongside their synths.
DANA JEAN PHOENIX though showed herself to be one of the best solo synth performers on the live circuit, but artistically the best of the lot was MECHA MAIKO who had two major releases ‘Okiya’ and ‘Let’s!’.
Despite making some good music in 2019 with their ‘Destroyer’ two-parter, the “too cool for school” demeanour of TR/ST might have impressed hipsters, but left a lot to be desired. A diva-ish attitude of entitlement was also noticed by ELECTRICITYCLUB.CO.UK to be disappointingly prevalent in several fledgling acts.
However, several of the sub-genre’s artists needed to rethink their live presentations which notably underwhelmed with their static motions and lack of engagement.
While promoters such as Outland developed on their solid foundations, others attempted to get too big too soon like the musical equivalent of a penis extension, leaving fans disappointed and artists unpaid. Attempting to turnover more than 10 acts during in a day with a quarter of an hour changeover has always been an odious task at best, but to try 15?!? One hopes the headliners were well paid despite having to go on at midnight when most of their supporters went home so as not to miss the last train…
Now at times, it was as if a major collective midlife crisis had hit independent electronic music in the UK during 2019. It was not unlike how “born again bikers” have become a major road safety risk, thanks to 40somethings who only managed Cycling Proficiency in Junior School suddenly jumping onto 500cc Honda CMX500 Rebel motorcycles, thinking they were Valentino Rossi.
Something similar was occurring in music as a variety of posturing delusional synth owners indulged in a remix frenzy and visions of grandeur, forgetting that ability and talent were paramount. This attitude led to a number of poorly attended events where attendees were able to be counted on one hand, thanks to clueless fans of said combos unwisely panning their video footage around the venue.
Playing at 3:15pm in an empty venue is NOT performing at a ‘major’ electronic festival… “I’ll be more selective with the gigs I agree to in the UK” one of these acts haplessly bemoaned, “I’ve played to too many empty rooms!” – well, could that have been because they are not very good?
Bands who had blown their chance by not showing willingness to open for name acts during holiday periods, while making unwise comments on their national TV debut about their lack of interest in registering for PRS, said they were going to split a year in advance, but not before releasing an EP and playing a farewell show in an attempt to finally get validation for their art. Was this a shining example of Schrodinger’s Band?
Of course, the worst culprits were those who had an internet radio show or put on gigs themselves so that they could actually perform, because otherwise external promotors were only interested in them opening at 6.15pm after a ticket deal buy on for a five band bill. Humility wouldn’t have gone amiss in all these cases.
It’s a funny old world, but as ELECTRICITYCLUB.CO.UK comes up to concluding its tenth year as an influential platform that has written extensively about not one or two or three or four BUT five acts prior to them being selected to open on tour for OMD, luckily the gulf between good and bad music is more distinct than ever. It will be interesting to see if the high standard of electronic pop will be maintained or whether the influx of poor quality artists will contaminate the bloodline.
So ELECTRICITYCLUB.CO.UK ends the decade with a complimentary comment by a punter after attending two of its live events: “You don’t put on sh*t do you…”
May the supreme talent rise and shine… you know who you are 😉
ELECTRICITYCLUB.CO.UK Contributor Listings of 2019
2019 was good for new music. The first two thirds of the year was particularly strong for up-and-coming talent, while a number of veterans returned to making music with synths for the first time in many years.
Inevitably, the quality of new releases couldn’t be sustained and things tailed off during the Autumn period as artists shifted their focus towards the live arena. The launch of debut full-length releases by relative newcomers has tended to focus towards the winter in order to pitch to the deluge of tastemaker polls that are now prevalent both in mainstream and online media.
Of course, ELECTRICITYCLUB.CO.UK is unable to include everything in its 30 SONGS OF 2019, so worthy mentions go to SHOOK, CIRCUIT 3, KANGA, FRAGILE SELF, NINA, THE HEARING, JAKUZI, TR/ST, SPELLLING, I AM SNOW ANGEL, PET SHOP BOYS, NO-MAN, RIDER, FRAGRANCE. and T.O.Y. for their output this year.
As per usual with a restriction of one song per artist moniker and presented in alphabetical order, these are ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2019…
APOPTYGMA BERZERK A Battle For The Crown
Over the 25 years since his debut album ‘Soli Deo Gloria’ , Stephan Groth has straddled EBM, synthpop, futurepop, alternative rock and more recently instrumentals with APOPTYGMA BERZERK. For his first new material since 2016’s ‘Exit Popularity Contest’, the upcoming EP ‘Nein Danke!’ sees a return to the synthpop / new wave format. Part of a teaser single, ‘A Battle For The Crown’ offered a suitably matted austere but crucially did not forget the hooks or the melodies.
Available on the EP ‘Nein Danke!’ via Pitch Black Drive
Stark Massachusetts duo BOY HARSHER formed through an urgent need to produce and consume, so Jae Matthews and Augustus Muller utilised their minimal electronics and intense mindset to create a compelling narrative of deterioration. ‘LA’ featured a wonderfully incongruous mix of icy string synths and orchestra stabs for an enticing display of mutant electronic disco, all brilliantly sinister thanks to its varied use of effects and Matthews’ mournful demeanour.
Available on the album ‘Careful’ via Nude Club Records
Jorja Chalmers is the sax and keys player for Bryan Ferry but while it was recorded in her boss’ studio, her first solo album ‘Human Again’ exuded a more sombre filmic disposition. Conceived and sketched in hotel rooms during the come down from playing to packed theatres around the world. ‘She Made Him Love Again’ was a song where Chalmers’ breathy vocals possessed a gorgeous forlorn allure and when the icy string machine and deep sax joined in, proceedings lifted to another level.
Available on the album ‘Human Again’ via Italians Do It Better
Lloyd Cole had recorded an experimental electronic album ‘Selected Studies Vol 1’ with Hans-Joachim Roedelius of CLUSTER in 2013, while there was also a solo instrumental collection entitled ‘1D Electronics 2012-2014’. But he put all of that modular knowhow into a song based format with the charming synthy single ‘Violins’ which saw him turn into OMD! However the King of Glum Rock didn’t totally alienate his main fan base, with guitars making their presence felt in amongst all the machinery at the halfway point.
CHINA CRISIS have been an unlikely influence on acts such as VILLA NAH and MIRRORS, but while these days their synthwork is less pronounced, front man and keyboardist Gary Daly took the plunge with a full length solo record entitled ‘Gone From Here’. The wonderful first single ‘I Work Alone’ acted as both a statement of intent and an affirmation in self-belief. A lovely whimsical piece of Casiotone folktronica, Daly said “it’s very much ‘Neon Lights’ meets ‘Autobahn’”
With a range of tempo variation, ‘Based On A True Story’ was the undoubtedly the best album of Swedish trio DAYBEHAVIOR’s long if sporadic career. Including a number of more danceable numbers to counterpoint the more laid back aspects of their cinematic sound without losing any of their exquisite aesthetics, one of the best examples could be heard in the fabulous Europop number ‘Driving In My Car’. It was just one part of a priceless collection of quality Scandipop.
Available on the album ‘Based On A True Story’ via Graplur
Nearly four decades is a long time to wait for a debut album, but with Wakefield’s FIAT LUX, it was been worth it. Recalling BLACK and CHINA CRISIS, the guarded optimism of ‘We Can Change The World’ provided a call to action in these turbulent times within an uptempo setting dressed with bubbling synths and rousing dual vocals sweetened by smooth sax. Steve Wright and David P Crickmore honoured their late band mate Ian Nelson in the best way possible with their recorded and live return.
Georgia Barnes is the daughter of LEFTFIELD’s Neil Barnes and the former drummer for Kate Tempest. Although her eponymous debut album possessed a more urban DIY feel, her sound has recently moved into more accessible electronic pop territory. From upcoming second album ‘Seeking Thrills’, the gloriously throbbing workout of ‘About Work The Dancefloor’ took its lead from ROBYN with its rousing Scandipop sheen, offset by a creepy distorted vocal refrain.
A Copenhagen domiciled German, classically schooled Greta Louise Schenk teamed up with Norwegian producer FARAO to enter a dreamy synthpop universe. With its unusual rhythmic structure and chromatic overtones, ‘White’ could have been an art rock number? “I often wonder how this song came out of me” she said, “I actually wrote it on my Irish bouzouki, which may explain the chords. I was listening a lot to LANA DEL REY and it was quite a dark time in my life.”
Another project of Johnny Jewel, HEAVEN first came to wider attention with the ‘Lonesome Town’ EP. Fronted by the enigmatic allure of singer and keyboardist Aja, the brilliant ‘Truth Or Dare’ perhaps unsurprisingly sounded like CHROMATICS but with more synths and drum machine. While on tour as keyboardist with DESIRE, Aja took the title literally when they performed a cover of NEW ORDER’s ‘Bizarre Love Triangle’ and Jewel watched nearby…
Available on the single ‘Truth Or Dare’ via Italians Do It Better
ALICE HUBBLE is the new solo project of Alice Hubley, previously best known for fronting ARTHUR & MARTHA and COSINES. Hubley’s synth earth mother demeanour came to the fore on the sub-OMD of ‘We Are Still Alone’. While the lilting bass and elegiac transistorised melody were glorious, when the synth strings responded in that ASHRA style, it became perfect avant pop with Hubley sadly resigning to herself that she “couldn’t find the way to make me better”.
Available on the album ‘Polarlichter’ via Happy Robots Records
Leeds based singer / songwriter IMI is gifted with a most glorious soprano but she applies that and her love of analogue synths to an intelligent avant pop aesthetic. ‘I Feel Alright’ with its sharp melodic call and ethereal voices headed into assertive optimism. This most promising young synth talent said to ELECTRICITYCLUB.CO.UK: “This song was written after a few years of struggling with some personal issues and it was a celebration of finally feeling ok and feeling hopeful about the future.”
Hailing from Sheffield, INTERNATIONAL TEACHERS OF POP and their world of academia would make “eccentric Northern electronic pop” compulsory on the curriculum. From their vibrant and accessible self-titled debut album, the bubbly ‘Love Girl’ was a luscious cross between DUBSTAR and THE HUMAN LEAGUE. Cosmic but catchy, their intelligent musical escapism has been just the tonic in these turbulent times. One of their manifesto statements is “Smile at the neon and the mirrorball”.
Producing his most synthpop work in ages, originally from the ‘Eddie The Eagle’ film sessions, Howard Jones said of ‘Hero In Your Eyes’: “I was really drawn to the part where his parents were amazing, continuing to believe in him when he was obviously not really very good at what he’d chosen to do, they kept supporting him. So him being a hero in their eyes always, that ‘I’ll be there for you’ feeling, I thought that it was something a lot of people could relate to”
Available on the album ‘Transform’ via Dtox Records
Coming over like the love child of Richard Butler and Neil Tennant, KNIGHT$ made synthwaves with his sparkly Britalo on his energetic debut album ‘Dollars & Cents’. The Hi-NRG romp of ‘Hijack My Heart’ aped BRONSKI BEAT complete with a closing bursts of falsetto as the Winchester lad tightened his glitzy clubbing trousers to full effect and even dropped in a blistering synth solo to add to the fun. It was a highlight on one of the best albums of 2019.
LADYTRON produced their last offering ‘Gravity The Seducer’ in 2011. Their recent heavier self-titled reboot saw the quartet of Helen Marnie, Mira Aroyo, Daniel Hunt and Reuben Wu entering the ‘Deadzone’. Unsettlingly percussive and full of tension but hitting the spot with the right dose of melodic elements intertwined with haunting grit and grime, LADYTRON were back with a sucker punch. All in all, it was a fantastic comeback.
LIZETTE LIZETTE is Lizette Nordahl, a gender neutral Swedish / Peruvian producer and performance artist whose first mini-album album ‘Queerbody’ was released 2017. The beautifully sad Nordic synth ballad ‘Computer Game’ was written in tribute to a departed friend. Showcasing Nordahl’s more emotive side, it was a quality that had not been obviously apparent in LIZETTE LIZETTE’s more danced-based recordings.
Reflecting gloomier times, ‘Anthropocene’ saw MACHINISTA produce their most consistent body of work yet. Vocalist John Lindqwister and instrumentalist Richard Flow took their time in a refinement of their anthemic signature sound and the addition of some conventionally flavoured twists. The title song took its lead from the dark electronic pop of Norway’s APOPTYGMA BERZERK and owed more than a debt to the haunting riff of ‘Burning Heretic’ in the ultimate sorcerer’s apprentice spell.
Available on the album ‘Anthropocene’ via Infacted Records
Behind the quirky avant pop of MECHA MAIKO is the talented Canadian Hayley Stewart. ‘Apathy’ from her new album ‘Let’s!’ can only be described as delightfully nuts, with an inventive mix of a jazz swing Charleston vibe, frantic techno dance beats and vibrant synthpop hooks. It showed she was not afraid to blend seemingly incongruous influences to get an end result and with a slight sprinkling of Japanese instrumentation to close, the eclectic creative cycle was complete!
Swedish songstress Karin My sang with veteran combo TWICE A MAN on their poignant environmental catastrophe warning ‘High In The Clouds’ in 2105. Her solo single ‘The Silence’ was one of the first truly great songs of 2019. Swathed in beautiful synths and embroiled in that wonderful Scandinavian melancholy, her gorgeous vocals evoked a forlorn abandonment just as a wintery chill set in with the sad dilemma of whether to give up…
Available on the single ‘The Silence’ via Ad Inexplorata
The mighty Italo Disco statement of ‘Left Behind’ came complete with obligatory orchestra stabs and a rousing chorus, gleefully fusing SAVAGE, RAF, PET SHOP BOYS and BEE GEES within a big Trevor Horn styled kitchen sink! But despite the fun laden octave shift frenzy, the lyrics were concerned with midlife reflection. Michael Oakley said: “the song is about me feeling like everyone around me was getting settled in their career, getting married and taking out a mortgage.”
Available on the album ‘Introspect’ via NewRetroWave
Every now and then, the world needs a lively unpretentious synth instrumental record. With the second OBLONG album ‘The Sea At Night’, the trio of Benge, Dave Nice and Sid Stronarch delivered a collection of rustic electro-acoustic organically farmed electronica! With mood and pace, ‘Echolocation’ was a classic synth instrumental with its crystalline textures and charming slightly off-key blips, aurally reflecting the remote moorland location in Cornwall where it was recorded.
OMD began their recorded career with a KRAFTWERK homage and four decades on, they came full circle. A great grandchild of Klingklang and cousin of ‘Metroland’ from ‘English Electric’ but refined for BBC Radio 2 airplay, ‘Don’t Go’ captured the essence of OMD’s enduring electronic appeal. With crystalline synth melodies from Humphreys and a spirited vocal delivery from McCluskey attached to a hypnotic Synthanorma backdrop, OMD continue to produce quality avant pop tunes.
Feisty, fiery and on-message as “your abused Barbie doll from childhood”, Lauren Lusardi, better known as PLASMIC dropped yet another synth bomb with a vivid narrative on the fame game where women have to compromise and serve the male gaze to get to where they want. While pink is her colour, the rugged lo-fi cocoon of anxious sound penetrated the soul with a raging reminder that if “You wanna be famous?”, then really “Don’t be so f*cking brainless!”
Available on the single ‘Famous’ via CandyShop Recordings
“Beautiful melodies telling me terrible things” said a cartoon meme… with echoes of OMD, the life and death of the tragic Soyuz 1 cosmonaut Vladimir Komarov was captured poignantly in this instrumental by QUIETER THAN SPIDERS from their brilliant debut album ‘Signs Of Life’; Yi Fan from the anonymous Chinese synth trio said: “we were moved by the human story behind it all together with the haunting backdrop of primitive space experimentation.”
Danish duo SOFTWAVE have been gaining momentum with endorsements from luminaries such as ex-members of THE HUMAN LEAGUE Jo Callis and Ian Burden, while improving enormously since their 2016 debut EP ‘Together Alone’. Punctuated by machines of ice, ‘No Need To Hide’ was undoubtedly Clarkean, celebrating positivity in possibly SOFTWAVE’s finest moment yet with one of those rousing Scandipop choruses and coming over not unlike Celine Dion fronting ERASURE.
The powerful electro R’N’B tinged ‘Way Out’ was the first English language taster from Beijing-born songstress’ ambitious new Anglo-Mandarin bilingual album project. Fifi Rong said of her concept: “I’m making a double album. One album in Chinese and the other in English. Not the typical type of translation type of bilingual album from one language to another… So the two albums are all individual songs interlinked in sounds, themes, vibes.”
Andrew Montgomery, best known as the vocalist of GENEVA who scored hits with ‘Into The Blue’ and ‘Best Regrets’ in 1997, teamed up with Leo Josefsson of Stockholm trio LOWE to form the electronic duo US. If Jeff Buckley had dumped his Fender Telecaster for a Korg MS20, then that is the dark anthemic sound of US. ‘Voyager’ went all spacey avant trance in a wonderful cross-pollination of styles that came over a bit like MUSE at Gatecrasher.
It was a big year for WITCH OF THE VALE as their highly spirited otherworldly sound, deeply rooted in Celtic folklore and Wiccan beliefs, found a sympathetic audience at Infest 2019. The eponymous track from their second EP introduced serene, yet uncertain feelings channelled via clear but eerie vocals over the croon from a raven. This angelic ballad put all the fears to sleep and demonstrated how Erin and Ryan Hawthorne sound are like nothing else within the world of modern electronica.
Although best known as the lead vocalist for FM-84 on ‘Running In The Night’, Ollie Wride unleashed his debut solo album in 2019. The Driver’ put into dynamic realisation as to what SIMPLE MINDS might have sounded like had Moroder-graduate Keith Forsey produced the 1985 ‘Once Upon A Time’ album instead of Jimmy Iovine and Bob Clearmountain. The superb grouchy synth rock saw the Brighton boy successfully pull off a cross between Jim Kerr and Billy Idol!
The previous albums of Swedish duo MACHINISTA, ‘Xenoglossy’ and ‘Garmonbozia’, each had terrific highlights but new long player ‘Anthropocene’ is their most consistent body of work yet.
Like a cross between THE CURE and ALPHAVILLE producing a fusion of synthpop and rock n roll, vocalist John Lindqwister and instrumentalist Richard Flow have added conventionally flavoured twists like guitars and cellos.
Refining their anthemic signature sound as well as reflecting today’s darker times, MACHINISTA’s gloomy club-friendly template went down a storm recently with the regulars at alternative club night Exit The Grey when the duo, accompanied by versatile guitarist Mattias Johansson, supported Mexican aggro-tech duo HOCICO at Electrowerkz in London.
While they were in the city, MACHINISTA chatted about the genesis of ‘Anthropocene’ and much more…
The ‘Anthropocene’ album has been a long time coming, are there any particular reasons?
Richard: Oh yes, many reasons for this. We did switch to a new label, so we had to work this out. I did a lot of remix-work for other bands as well as producer-work with the Swedish band PAGE. John has a bunch of side-projects as well he did work on and also we had a lot of focus on gigs during these years. But all this time we did record songs and released some singles as well. We did participate on several tribute albums, re-releases and stuff. Also private-life comes between sometimes so yeah this album took many years to finish for many reasons. You won´t need to wait years for the next release *laughs*
Did record companies have any bearing, because each MACHINISTA album has been released on a different label?
Richard: With our first label, there was some problems for sure. After that label closed down, we signed to UK based label Analoguetrash. We really liked that label, very kind people and easy to work with, but at the same time we started to play a lot more in Germany. Germany is really the best country for our kind of music so when we did get an offer from Infacted Recordings, we jumped on that train and it feels really good! The guys at Analoguetrash understood our situation and a chance for us to go in the direction we needed. We still have good contact with Analoguetrash so no hard feelings there.
Does a modern electronic pop band with a niche audience actually need a record label these days?
Richard: I guess not. It’s easy nowadays to do it by yourself and promote with YouTube, Facebook and all that. But at the same time, we are traditional when it comes to releasing physical CDs and that is so much easier with a label running all that for you. Also our current label Infacted Recordings is an established label in our genre with good connections when it comes to distribution, promotion and all that. Of course these days as a band you have to promote a lot by yourself to reach out, but with a label doing this work as well we can focus much more on the main thing, to record new songs!
While MACHINISTA lyrics have never been exactly cheerful, they have taken on a darker, almost fatalistic tone on this new album?
John: Actually it’s not a conscious thing that it ended up like that, haha! Maybe my brain has sucked up too much negative stuff listening on the radio every day.
Well I write about dark stuff and difficulties in life, but I think I put hope in there as well. ‘Anthropocene’ indicates a rough image of the future but we can change that. I hope 😉
The overall sound has become harder, still electronic but with more guitars?
Richard: Yes that’s correct! From the start we never really had any rules when it comes to the sound. However, our first album had a lot synth-pop songs for sure. When we started to write songs for ‘Garmonbozia’, we wanted to go into a darker direction. Dark, moody songs are a lot more fun to write and make me more happy than sunny pop songs. During this time we also started to have a guitarist on stage and it fitted in a lot more to a harder, darker sound.
Norway’s APOPTYGMA BERZERK appears to have been a big influence?
Richard: Well, yeah you know I listen to a wide range of music and APOP has always been a favourite band. I like that Stephan Groth does whatever he wants every time they release a new album. No rules. It’s similar to what we do. Then of course they have a great back-catalogue of songs! MACHINISTA was also part of the APOPTYGMA BERZERK tribute album that was released some years ago.
The excellent ‘Anthropocene’ title song even slips in the haunting riff of APOP’s ‘Burning Heretic’?
Richard: Yes, it was meant to be a little “tribute” to that song in the intro of ‘Anthropocene’. From the beginning, it was almost identical but then I did change some of the notes.
Stephan Groth and MACHNISITA have developed a kinship over the last few years?
Richard: We have met a few times during the years. He did a remix of ‘Dark Heart Of Me’, I also did mastering for the APOPTYGMA BERZERK remix of the PAGE song ‘Krash’. Recently I did a solo-gig and performed a lot of cover-songs. Among them, the classic Apoptygma song ‘Eclipse’. Stephan was at this event so he joined me on stage on that one. Very good fun!
Despite the harder aesthetic, ‘Astrid’ is quite cinematic and orchestrated featuring the very talented Karin My on cello?
Richard: This song turned out really well! The original demo was more electronic but when John added the vocals, I heard something else in my head. I thought about for a long time to do a song a lot more like THE CURE, that alternative feeling and this one was perfect. Karin My is a brilliant musician and singer so we are really happy that she was part of this song. Also Mattias’ guitar-playing did add a new dimension to it.
Having previously covered ‘Heroes’, ‘Anthropocene’ closes with another Bowie connected cover in THE BEATLES ‘Across The Universe’?
John: I wanted to do that cos it’s good song and as a small homage to my mother who named me after him and her being a big fan. And I’m a universe kind of guy!
You like your cover versions, you have been doing FRONT 242 ‘No Shuffle’ at recent gigs?
Richard: Yes, THIS London-gig actually! ?
John: There have been so many covers, it has to stop ?
The guitar has entered the live fray as well, although what Mattias Johansson does is complimentary and not overplayed, one minute he’s Midge Ure, then he uses an E-bow and then, it’s like THE SISTERS OF MERCY! *laughs*
Richard: We are more than happy to have Mattias with us! He is a great guitarist and always comes up with great melodies and stuff. The trick is to add a guitar that blends in good to the original music. Mattias does this and more! Also a great and funny guy to hang with, so we all have very fun together.
‘Anthropocene’ is probably your most consistent body of work to date, which are your own favourite songs on it and why?
Richard: Hmm. that changes from day to day. At the moment I would say ‘Astrid’. That song turned out almost exactly the way I wanted.
What’s next for you, either individually or as MACHINISTA?
Richard: We will play in Copenhagen on 30th August at Elektroland, that will be a lot of fun! At the moment we are also working on new songs that feel really nice. The sound will take a step in a different direction. We are exploring new dark territories. It will still sound MACHINISTA of course ?
John: I have CAT RAPES DOG and we are going to do a few shows, plus there’s the new project I have with Jonas from TRAIN TO SPAIN called FOLK ÄR FOLK. And Flow is in the live set with us. That will be fun.
ELECTRICITYCLUB.CO.UK gives its grateful thanks to MACHINISTA
With ‘The Silence’, Karin My released the first truly great song of 2019.
Swathed in beautiful synths and embroiled in wonderful melancholy, her gorgeous vocals evoked a forlorn abandonment like a Nordic Mary Hopkin.
For the follow-up, the tearful double-header ‘Time To Go’ and ‘Voices In The Wall’ dealt with personal loss and touched the heartstrings. The latest in her series of acoustically derived electronic songs is the dreamy observation of ‘World From Orbit’.
Stating that “From a distance, I see it all, I’m everywhere. I’m not a part of anything. Just an observer”, Karin My is an experienced self-taught musician who has largely remained in the background for most of her career. The Swedish chanteuse kindly spoke about the making of her singles quadrilogy and much more…
You have a comparatively traditional music background, so how did you first become interested in electronic music and who are your favourite artists of this type in particular?
I have as far I can remember always been fascinated by the sound of electronic devices, but it wasn’t until I was about eleven years old that I got my first “electronic experience” so to speak. A friend of my mother’s gave me five KRAFTWERK LPs (from ‘Autobahn’ to ‘Computer World’) and l remember the moment I first listened to them, sitting on the floor listening to something that took me to another world. I was deeply touched and scared at the same time, to me the music sounded almost like it wasn’t created by humans.
Shortly after that, bands like TANGERINE DREAM and DEPECHE MODE came into my life. The electronic snowball effect rolled on after that and filled my life with beautiful and inspiring music from bands like ELEGANT MACHINERY, DIVE, DE/VISION, APOPTYGMA BERZERK, VNV NATION, IRIS and KITE just to mention a few.
The quality of electronic music appears to be very strong in Sweden at the moment, why do you think that might be?
I’m wildly guessing here, but maybe it’s the fact that since the 90s, we’ve had a lot of talented artists in the electronic music scene, who over time have evolved and fine-tuned their skills. Maybe right now they’ve all reached a point of maturity which makes both the productions and the performances stronger. Because we´ve been doing this side by side throughout the years, we have been ageing together to reach this point. Or maybe it’s just something in the water.
ELECTRICITYCLUB.CO.UK first spotted you doing backing vocals on ‘High In The Clouds’ by TWICE A MAN, how did this collaboration come about?
I was doing a small gig with my guitar, playing some electronic covers in a basement café in Gothenburg, I came in directly from the streets where I used to busk for surviving. Dan Söderqvist was in the audience that evening and after the gig, he asked me if he could use my voice for the next TWICE A MAN album. We gave it a try and liked what we heard, so we decided to continue working together, both in studio and live on stage where I’ve had the honour of being their guest voice on several occasions.
Your time in music goes back further than that in the band NEMO, whose song ‘Voices In The Wall’ you revived for a solo single?
Yes that’s very true. My interest in music started early. I sang Dan Andersson and other folk songs as soon as I was old enough to talk. Later on, as the restless teenager I became, I played every instrument I could lay my hands on, often terribly, but I had fun and learned a lot.
From the money I got picking strawberries, I bought my first piano. Then I found a drum kit in a garage, got it for free and spent one year torturing the neighbours, but at least I got good enough to play drums and sing in a jazz n’ blues band, with some good old silver foxes. I then bought my first cello, learned how to use it and that was a long-time dream coming true.
At this time, I also wrote my first Swedish lyrics which I many years later translated to English and used for my music. Then I met Carl Lundgren, became the female voice of NEMO and finally started to learn about the process of creating the electronic music that I loved so much.
You twinned ‘Voices In The Wall’ with ‘Time To Go’ in a rather emotive video presentation, was this two party story based on personal experiences?
Every story I tell has a grain or a mountain of truth to it. I was surprised though, how hard it was to watch the video. I didn’t expect that. I watched it three times, first to celebrate that we were done, then to see our work and to focus on the details, and then once again just to watch it. I think it’s really well made and I’m so grateful to the girl who acted the young part in the video, but I prefer not to watch it again.
The quadrilogy started with ‘The Silence’, a truly striking song and video.
Thank you, it makes me really glad that you think it is!
How would you describe your creative process, from composition, arrangement, production and visuals?
I’ll try to describe the creative process as briefly as I can, or this will be a never ending story. The visuals for this song started as a dream, literally. I saw what later became the video when I was sleeping and made some sketches of it. When I wrote ‘The Silence’ on my acoustic guitar, we realised that the dream and the song belonged together. We spent the spring and summer building the abandoned winter city which serves as the setting in the video.
I was then filmed on a huge white fabric, dragging the sack back and forth for days, with a person standing on a ladder throwing fake snow at me. This was the hottest summer in Stockholm since forever, so me struggling in the video in that winter outfit is not fake. Then I was super imposed into the city.
Creating the musical part of ‘The Silence’ can best be described as a constant search for the most beautiful and mood setting sounds that were hiding inside the machines, to match the sounds of the acoustic instruments.
It would be fair to say that your music has a very melancholic tone, does that reflect you as a person, where your life is your art?
Yes, in some way. The music reflects one part of me that I most of the time carry on the inside, but in the name of art, I have all the freedom I can wish for to let it out, without it being a heavy burden for anyone else. At the same time, I’m genuinely happy for all the beautiful things out there and I easily get emotionally touched in a good way as well.
The new single is called ‘World From Orbit’, what is that about?
As I see it, it’s about someone’s silent wishes, to exist just as a floating thought, far from the difficulties that we for some reason choose to live with. To see it all from a distance and dream about making it better. Even though it’s sad to have to live with such wishes, I think this is also a song about hope.
The monochromatic video for ‘World From Orbit’ is very Olympian, what does the burning star symbolise?
We did that scene by illustrating the lyrics literally, (“…a star, shining down on all the children”) so that’s what it is, a shining star. But I’m sure there can be many more fantastic interpretations of that, it’s up to each and every one. I have to mention I was surprised afterwards when I was looking at the video and got especially touched by that scene, seeing it as a mother’s warm and safe utero carrying a new life, and got a bit emotional.
For many years, you have been in the background doing backing vocals or cello for acts like MACHINISTA, CARBON BASED LIFEFORMS and FAKE MOSS, so how does it feel to be at the front? Are you enjoying the experience with all the attention that entails?
Thank you, it feels very good, like a piece of a puzzle that falls into its place. I am very grateful for all the artists I’ve had the honour of working with during all these years, amazing people and musicians each and every one, and it’s exciting to finally release something of my own.
The attention generated so far is both heartwarming and inspiring. Some people seem to have been touched by the songs and sometimes share their own stories with me and tell me I am brave; I wasn’t expecting a response like that.
You are getting to work with a lot of great equipment of all vintages for your music, so what is your favourite synth and why?
This was a really difficult question and I hope I don’t make all the other synths sad by choosing only one. But using the Korg PS3200 is like opening a door to another world and I feel honoured to have some of her sounds on my album. The special one I’m referring to here is called “Bettan” (short for Beatrice) so I guess she’s a lady model.
What’s next for you?
I’m continuing the work on the album which hopefully will be released in late 2019. Prior to that a digital EP featuring remixes by different artists will also be released. I’m also doing a wedding concert for Gasleben of TWICE A MAN and Anna Öberg who are getting married this summer. Recently I also got a request from a legend about working together on his next project, to which I of course responded “yes”.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Karin My
‘World From Orbit’ is available on most digital platforms via Ad Inexplorata
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Having released 21 albums since 1982, Swedish veterans TWICE A MAN have never been ones to shy away from serious issues.
But ‘Fireflies’ utilises ethnic percussive flavours and the return of Karin My to feed the claustrophobic air with Lampyridae acting as deadly symbolism for the end of future dreams.
via Pitch Black Drive
via Nude Club Records
via earMUSIC
via Splid Records
via Celebration Records,
via Italians Do It Better
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via Dtox Records
via Specchio Uomo
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and 
dealt with personal loss and touched the heartstrings. The latest in her series of acoustically derived electronic songs is the dreamy observation of 
.
can best be described as a constant search for the most beautiful and mood setting sounds that were hiding inside the machines, to match the sounds of the acoustic instruments.
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