Tag: Kavinsky

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2022

During lockdown, electronic music displayed its emotional empathy with isolation and solitary working.

But as during The Cold War in its breakthrough years, it read the room again with the onset of worldwide and domestic conflicts, both armed and political.

There were times in 2022 that were as if The Cold War had never ended and in amongst the turmoil, artists reflected their anxieties on top of those already existing.

Jori Hulkkonen of SIN COS TAN said: “Overall, this decade has been a real downer with the pandemic and now the war, so if we are trying to look for silver linings here, I think it will be interesting for the creative community to get something out of it, the frustration, the fears and all that.”

As further pandemic songs were released as well, what emerged were songs of varying moods and while there was fresh optimising in the air, there were calls to arms and resignation looming too. Overall, 2022 saw many great individual tracks issued and mention must be made of NNHMN, NATION OF LANGUAGE, O+HER, DIE ROBO SAPIENS, DESIRE and MOTHERMARY who were among those shortlisted for this year’s listing.

As ever on ELECTRICITYCLUB.CO.UK, rules help control the fun… so restricted to tracks available on the usual online retail platforms with a restriction of one song per artist moniker, here are the 30 SONGS OF 2022 in alphabetical order by artist…


ANNIEE featuring VON HERTZOG Danger Electricity

Bubbling with a dynamic thrust, the angelic voice of Anniee evoked the excitement of a night clubbing while Von Hertzog provided the hypnotic backing and beautiful soundscape. “I was jogging in London and came across the words in the sidewalk ‘danger electricity’” she said, “I had always wanted to create a dance track – something that reflected my love for EDM, what I felt when I first heard it as a teenager, visiting clubs in Mallorca. Also the feeling I still get now taking the train to NYC and the energy of the city”.

Available on the single ‘Danger Electricity’ via Anniee and Von Hertzog

https://www.instagram.com/anniee_music/


ALANAS CHOSNAU & MARK REEDER All You Need To Love

For Alanas Chosnau and Mark Reeder, the ongoing world tensions were a symbol of ‘Life Everywhere’. Like a Harry Palmer film given an electro soundtrack and hidden behind the facade of love songs, their second album together poignantly made a statement on life during wartime. With a speedy conga mantra and a dominant digital clap, ‘All You Need Is Love’ entered funky electronic disco territory with roots in Reeder’s SHARK VEGAS days to emulate the propulsive air of NEW ORDER.

Available on the album ‘Life Everywhere’ via MFS

https://alanaschosnau.com/

https://www.facebook.com/markreeder.mfs


RODNEY CROMWELL The Winter Palace

Intended as a soundtrack to a sadly post truth world, Rodney Cromwell returned with his second album ‘Memory Box’. Despite questioning selective memories, album closer ‘The Winter Palace’ was all about wanting to forget a former beau because “I dream of you regardless, whether I am asleep or awake”. With hints of classic NEW ORDER and OMD, the wonderfully icy number embraced motorik mechanisation within a hypnotic electronic backdrop and providing a glorious synth solo for a hopeful uplift to savour.

Available on the album ‘Memory Box’ via Happy Robots Records

https://www.facebook.com/rodneycromwellartist


BOY HARSHER Machina featuring Ms. BOAN

BOY HARSHER made a short horror movie ‘The Runner’ and a soundtrack to go with it which stood up in its own right. Although comprising of their usual dark and danceable electronic pop, it proved to be their most diverse collection yet featuring several special guests. Sung in Spanish and English, ‘Machina’ featuring Ms. BOAN aka Mariana Saldaña was aimed at the dancefloor, recalling the Latino electronic disco of Bobby Orlando, particularly PET SHOP BOYS ‘A Man Could Get Arrested’.

Available on the album ‘The Runner’ via Nude Club / City Slang

https://boyharsher.com/


CIRCUIT3 Valentina Fly

For his third CIRCUIT3 album ‘Technology For The Youth’, Peter Fitzpatrick presented a retro-futuristic narrative on the world before the space shuttle. Valentina Tereshkova whose 1963 adventure in Vostok 6 made her the first woman in space was celebrated with ‘Valentina Fly’, the minimal structure and string machines of the wonderful piece evoking OMD. “She’s not a celebrated as Yuri Gagarin” said the Dubliner, but “in some respects, what she achieved was much greater.”

Available on the album ‘Technology For The Youth’ via https://circuit3.bandcamp.com/

http://www.circuit3.com/


GEMMA CULLINGFORD Tongue Tied

If Yoko Ono’s ‘Walking On Thin Ice’ had been reconfigured as a Balearic friendly electronic disco number, then it would have come out like ‘Tongue Tied’, the title track of the second album by Gemma Cullingford. With a nonchalant but sensual vocal style reminiscent of Sarah Nixey, ‘Tongue Tied’ exuded a positive if nervous energy in a purer metronomic adoption of electronics. “My boyfriend provided the lyrics knowing that I often get tongue tied and mince my words so he knew they’d mean something to me” she helpfully added. Shyness is nice…

Available on the album ‘Tongue Tied’ via Elmo Recordings

https://www.facebook.com/gemcullingford


DAWN TO DAWN Stereo

Canadian danceable dreampop trio DAWN TO DAWN celebrated the joy of music in times of adversity with ‘Stereo’. Driven by a Roland TR909, the song touched on the acceptance of confinement where “I wait for no one to ask ‘when do we go?’”. Embracing the notion that “you’re here – on the stereo”, in its romantic reflection of good times, a breezy infectious allure was captured while maintaining an understated synthesized danceability and a promise of better things to come.

Available on the album ‘Postcards From The Sun To The Moon’ via SSURROUNDSS

https://www.facebook.com/dawntodawnmusic


DUBSTAR Token

Since Sarah Blackwood and Chris Wilkie reconfigured DUBSTAR as a duo, there was always the impression that the comeback album ‘One’ was a warm-up. Opening album ‘Two’  was ‘Token’, possibly their most overt synthpop statement yet. Co-produced by Stephen Hague, it pointed to his work with PET SHOP BOYS and ERASURE. A song full of resilience, its narrative about leaving behind abusive relationships and minor gestures was a topic that many could relate to.

Available on the album ‘Two’ via Northern Writes

https://www.dubstarofficial.co/


EMMON The Battle

Since releasing her first sassy pop album ‘The Art & The Evil’ in 2007, Emma Nylen has got progressively darker and harder while still retaining an enigmatic presence. While most of her ‘Recon’ album headed in an EBM direction influenced by NITZER EBB and FRONT 242, synthpop with a syncopated backbone was the sound on the ‘Black Celebration’ inflected mission that was ‘The Battle’, a timely commentary on world and deomestic events. With an absorbing metallic chill, it was the highlight of her fifth long player proper.

Available on the album ‘Recon’ via Icons Creating Real Art

https://www.facebook.com/emmonsweden


FADER Serpentine

As with previous FADER works, Benge worked alone on the instrumentation at his Memetune Studios complex in Cornwall while Neil Arthur did his lyrics and vocals at his home studio. Their third album together ‘Quartz’ was an understated artistic statement inspired by incidental atmospheric music used in vintage TV shows. Minimalistic structures provided a reflective and elegiac backdrop. The icy waltz ‘Serpentine’ opened the album with its sparse keys like Gary Numan meeting Brian Eno and reminiscent of the former’s ‘Dance’ album from 1981.

Available on the album ‘Quartz’ via Blanc Check Records

https://www.facebook.com/WeAreFader


THE GOLDEN FILTER Drive

A reinterpretation of THE CARS’ mournful classic from 1984 which had already been a hit in its own right before becoming associated with Live Aid, this chilling version of ‘Drive’ by THE GOLDEN FILTER simply captured the zeitgeist in amongst the turmoil of world events… the work of Penelope Trappes and Stephen Hindman who released their first album ‘Volupsa’ in 2010, the duo defied people not to well up on hearing the words “Who’s gonna tell you when it’s too late? Who’s gonna tell you things aren’t so great?”.

Available on the single ‘Drive’ via The Golden Filter

https://www.thegoldenfilter.com/


H/P Vicinities

Based in Limoges, H/P were formally known as HAPPINESS PROJECT, issuing their first album ‘Remove Or Disable’ in 2008. For their H/P debut ‘Programma’, the trio not only shortened their moniker but also adopted a minimal synth approach. Acknowledging the debt of influence to cult French act MARTIN DUPONT, their bassist Alain Seghir guested on the glorious album closer ‘Vicinities’. Applying a complex spiral of delicate blips, it was enclosed is an emotional centre that recalls OMD for possibly the album’s stand-out song.

Available on the album ‘Programma’ via BOREDOMproduct

https://www.facebook.com/hp.programma


I SPEAK MACHINE War

Adopting the dishevelled persona of a satanic Libertas, ‘War’ by I SPEAK MACHINE was another album that captured the zeitgeist, although the lyrics were much more personal to Tara Busch. Short and sweet with hints of Gary Numan’s ‘Metal’, the screeching title song opener set the scene and the album’s intentions with a rumbling backdrop. “It definitely has ‘Metal’ in there as an influence” she said, “It came about from me messing with my Casio SK1 and then running that through a Moogerfooger ClusterFlux to make it all bendy and provide actual notes from the feedback.”

Available on the album ‘War’ via https://ispeakmachine.bandcamp.com/

https://www.ispeakmachine.com


KAREN HUNTER Don’t Call My Name

Veteran singer Karen Hunter was a live band member on Gary Numan’s ‘Berserker’ and ‘The Fury’ tours and recorded a wonderful cover of the ballad ‘Don’t Call My Name’ in support of The Ced Sharpley Drumming Bursary. The original was the closing track on the 1988 album ‘Metal Rhythm’ and the haunting song is given a serene feminine twist. As well as being produced by music veteran Steve Hunter who played with Peter Gabriel and Lou Reed, Numan associates Chris Payne and Andy Coughlan also contributed.

Available as a digital single ‘Don’t Call My Name’ via Living Ornaments

https://karenhunter.hearnow.com/


KAVINSKY Outsider

Vincent Belorgey aka Kavinsky made his name with ‘Night Call’ featuring vocals by Lovefoxxx of CSS. But after the track was featured in the cult movie ‘Drive’ in 2011, the Frenchman found it was becoming something of an albatross around his neck. He upset people when he said “f*ck that ‘synthwave’ stuff as u name it”. Seeming taking an age to record his follow-up to the ‘OutRun’ album, he made a statement to be ‘Reborn’. Channelling his inner Moroder circa ‘Midnight Express, ‘Outsider’ was a magnificent instrumental laced with orchestrated drama and tension.

Available on the album ‘Reborn’ via Record Makers / Protovision

https://kavinsky.com/


KID MOXIE Shine

Compared with the previous works of KID MOXIE, there were darker and harder aesthetics at play on ‘Shine’ in collaboration with German EBM producer FADERHEAD. Taking both musical and lyrical inspiration from DEPECHE MODE’s ‘Never Let Me Down Again’, front woman Elena Charbila assertively declared “I’m taking the lead in the back seat”. “We definitely channelled some DM vibes” she remembered, “it was even a running joke while we were in studio recording it with FADERHEAD”.

Available on the album ‘Better Than Electric’ via Pasadena Records

http://www.facebook.com/kidmoxie


KITE Panic Music

As the wait for the ‘VII’ EP continues, “Sweden’s best kept pop-secret” returned with an interim single. ‘Panic Music’ exuded a fierce anxiety with front man Nicklas Stenemo presenting his characteristic screaming delivery. Over an epic neo-gothic backdrop now associated with KITE, Christian Berg continued his fascination for electronic drones and swoops while there was also the surprise of a guitar solo in the middle eight. The stress and strain of the past two years and a very uncertain future was effectively captured in song.

Available on the digital single ‘Panic Music’ via Astronaut Recordings

https://www.facebook.com/KiteHQ


LEATHERS Runaway

From Vancouver in British Columbia, ACTORS keyboardist Shannon Hemmett continued with her more synth focussed solo project LEATHERS. Not completely divorced from the main band family, frontman Jason Corbett acts as producer and collaborator, just as Daniel Hunt did with Helen Marnie on her solo work during the LADYTRON hiatus. ‘Runaway’ was gorgeous dreamy synthpop to elope to, “About breaking free and letting go, it provides a pop of color against the mundane routine of everyday life”.

Available on the digital single ‘Runaway’ via Artoffact Records

https://www.facebook.com/leathersmusic


MECHA MAIKO Sunny, Softly (I Feel Love)

Hayley Stewart returned as MECHA MAIKO with ‘NOT OK’ to highlight the various social-political flashpoints that emerged during the pandemic. But focussing on warmer moments and feeling the force of some mighty electro, ‘Sunny, Softly (I Feel Love)’ threw in the iconic throb from the Giorgio Moroder produced Donna Summer hit for a glorious beat driven statement enhanced by an angelic delivery. “There’s a weightlessness to her song that I wanted to have play through the listener’s mind at the same time that they were listening to mine” she said.

Available on the album ‘NOT OK’ via New Retro Wave

https://www.mechamaiko.com/


MINIMAL SCHLAGER Submission

Sister and brother duo MINIMAL SCHLAGER began in 2020 as a consequence of the pandemic. Based between London and Berlin, Alicia Macanás and Francisco Parisi began to develop a brand of synth heavy dreampop. While bubbling with glistening synths, ‘Submission’ was a more of a new wave number with subtle guitar and a rhythmic bounce that set it apart from the other songs on their first album ‘Love, Sex & Dreams’ with an exhilarating chorus is that declares “For a second, I know I can win!”

Available on the album ‘Love, Sex & Dreams’ via Duchess Box Records

https://www.facebook.com/minimalschlager


R.MISSING New Present City

Fronted by enigmatic Sharon Shy, having released some fabulously ethereal singles in the shape of ‘Verónica Pass’, ‘Placelessness’, ‘Saturnining’ and ‘Crimeless’ in the past 18 months, New York-based darklings R. MISSING presented the sinister beauty of ‘New Present City’. In their embracement of the fragility of life with gently propelled soundscapes swathed in icy melancholia, this slice of electronic pop noir fittingly filled a gap left by the now disbanded CHROMATICS.

Available on the digital single ‘New Present City’ via Terminal Echo

https://rmissing.com/


RÖYKSOPP & ALISON GOLDFRAPP Impossible

When RÖYKSOPP released their most recent long playing opus ‘The Inevitable End’ in 2014, it was said to be their final album and made a fine farewell. But after various singles, archive releases and soundtrack commissions, they returned with the ‘Profound Mysteries’ trilogy. Featuring Alison Goldfrapp, the delicious ‘Impossible’ was a mighty avant disco excursion that was both seductive and functional. With the uplifting high soprano middle eight drifting into an intergalactic twist, it could be rightly considered one of the songs of 2022.

Available on the album ‘Profound Mysteries’ via Dog Triumph

http://royksopp.com/


HANNA RUA Light In Your Dark

Swedish songstress Hanna Rua has a dreamy electronic pop sensibility with the emphasis on the pop, but her debut EP ‘Light Up Your Dark’ also demonstrated her scope and capability using darker aesthetics. With a wonderfully gritty austere, the title song played with gothier influences while remaining melodic, coming over like a Nordic NINA in her more recent work. A battle against the demons, the brooding presence recalled unga moderna veterans LUSTANS LAKEJER and their 1999 single ‘Cynisk’.

Available on the EP ‘Light Up Your Dark’ via Aztec Records

https://www.hannarua.com/


SALLY SHAPIRO Fading Away

Although they announced a retirement of sorts in 2016, Swedish duo SALLY SHAPIRO joined the Italian Do It Better family in 2021 to make an unexpected return. ‘Fading Away’ was an epic dance tune to close the ‘Sad Cities’ comeback album. Perhaps unexpectedly originating from an ambient improvisation session, this atmospheric template was merged with a relentless disco synthwave hybrid, utilising a glorious plethora of trancey electronics and thumping rhythms across its seven minutes.

Available on the album ‘Sad Cities’ via Italians Do It Better

https://www.facebook.com/shapirosally


SIN COS TAN Endless

With the bear next door, the title of SIN COS TAN’s fourth album ‘Living In Fear’ resonated with anyone resident in Finland or anywhere in the civilised world; “Do you fear the dark, love, war, or yourself? Whatever the answer, you can be certain: Fear is a powerful thing.” The windswept electro-motorik of ‘Endless’ used the melodic synthy highs of OMD to counter the melancholic expression and drone laden backdrop, acting as a burst of escapist optimism despite surrounding tensions.

Available on the album ‘Living In Fear’ via Solina Records

http://solinarecords.com/sincostan/


SOFT CELL Nighthawks

Originally a Dave Ball instrumental issued as a single that came with the boxed set of his autobiography ‘Electronic Boy’, the tense industrialised pulse of ‘Nighthawks’ recalled the sweaty alternative club overtures of one-time Some Bizzare stable mates CABARET VOLTAIRE. Featuring a deranged expletive laden rap from American drag performance artist Christeene, SOFT CELL fans were even treated to the deep growly voice of Mr Ball himself repeating the title alongside Marc Almond while ‘Staying Alive’ backing vocals provided another counterpoint.

Available on the album ‘*Happiness Not Included’ via BMG

http://www.softcell.co.uk


UNIFY SEPARATE Closure

Documenting a period of personal struggle, the new UNIFY SEPARATE album ‘Music Since Tomorrow’ attempted ‘Closure’ and this epic album opener set the scene with a building atmospheric trance tune that simply mesmerised, especially when front man Andrew Montgomery hit his trademark falsetto. Instrumentalist Leo Josefsson cited influences such as MODERAT, FLOATING POINTS, NITZER EBB, UNDERWORLD and FRONT 242 for the sound while there was also inspiration from the movie ’28 Days Later’.

Available on the album ‘Music Since Tomorrow’ via How Music Group

http://www.unifyseparate.com


BELLA UNWIN Cold Breeze

Bella Unwin has been releasing music since 2018 but this year saw an artistic leap. With shades of Alison Goldfrapp, Hannah Peel and the often forgotten Stella Grundy, the positively feline and angelic ‘Cold Breeze’ was the London-based Aussie’s best song yet. With subtle rhythmic lattices and chattering synthesizer goodness, the additional production and mix by Finlay Shakespeare boosted the punchy and immediate machine funk that was laced with wispy and alluringly coy vocals.

Available on the single ‘Cold Breeze’ via GOTO Records

https://www.facebook.com/bellaunwinmusic


THE WEEKND Less Than Zero

After ‘Blinding Lights’ and ‘Save Your Tears’, THE WEEKND again reminded the mainstream of the emotive beauty that can come from classic synthpop with ‘Less Than Zero’. ‘Less Than Zero’ itself sounded not unlike Michael Jackson produced by Tony Mansfield. The cross of catchy hooks, glorious counter-melodies and acoustic strums were reminiscent of Mansfield’s own combo NEW MUSIK who had UK hits with ‘Living By Numbers’, ‘This World Of Water’ and ‘Sanctuary’ in 1980; Tony Mansfield himself later went on to produce most of A-HA’s debut album ‘Hunting High & Low’.

Available on the album ‘Dawn FM’ via by XO / Republic Records

https://www.theweeknd.com


xPROPAGANDA The Wolves Are Returning

One of the best numbers on the Stephen J Lipson produced ‘The Heart Is Strange’, a stark warning on rise again of the far right was highlighted on ‘The Wolves Are Returning’. Despite its bounce and sonic interventions, the message coming from two Germans whose grandparents’ generation had made the mistake of opening up the door to the Nazis and “did nothing” was poignant. Claudia Brücken and Susanne Freytag provided a worthy follow-up to ‘A Secret Wish’ as xPROPAGANDA.

Available on the album ‘The Heart is Strange’ via ZTT Records

https://www.xpropaganda.co.uk/


A selection of ELECTRICITYCLUB.CO.UK’s favourite music of 2022 is featured in its ‘Stay Negative To Be Positive’ playlist at https://open.spotify.com/playlist/4Mw0Fn10yNZQcrGzod98MM


Text by Chi Ming Lai
12th December 2022

COLLINS Animal Magnetism

‘Animal Magnetism’ is a great new album by the mysterious Rio based Irish musician COLLINS 

The wonderful opening track ‘Heartbreaker’ with its vocodered layers and synthesized goodness captures the vein of ‘Nightcall’ by KAVINSKY from the acclaimed film ‘Drive’… perhaps not by coincidence, COLLINS has also remixed ‘Nightcall’ as if to confirm the link. From the first listen, aural curiosity gets the better… the remainder of the collection is a superb, primarily instrumental collection with the Moroder-esque disco vibes of ‘If Looks Could Kill’ and the David Lynch reimagined by ‘Black Celebration’ era DM cover of ‘Falling’ being particular highlights.

The synthetic drifts of the brief ‘We Were The Ones’ recall William Orbit’s ‘Strange Cargo’ project while the filmic ambience of ‘Walk With Me’ with its incongruous blues guitar soloing by Johnny Accioly is based around the classic pop tune ‘Stand By Me’ (…the soulful Ben E King hit, NOT the dreary Oasis whine!) and makes a fitting closer. But it’s not all sedate; ‘Coping Mechanism’ for example is positively Italo be thy name!

The pulsating ‘Serenade’ with its more contemporary digital sheen is sweetened by the serene whispers of Ana Gabriela Accioly and holds the listener into a dreamlike state. However, at the opposite end of the spectrum, ‘The Sacred’ is altogether more sinister and unsettling with its demon robot rambling. With influences ranging from DAFT PUNK to THE BEACH BOYS and using a combination of Moog hardware and virtual instruments in Ableton Live, this is perfect evening listening with chilled vibes healthily resident in the mix.

The Collins dictionary definition of Animal Magnetism is “the power to attract others through one’s physical presence”. COLLINS himself says: “As I sit here now, trying to recall the events from 30 years ago, in that spring of ’83, that led to my journey into the darkness of an unanswered love. A darkness so sweet and captivating, I wished never to return. The memories, though vague at best, are trapped, haunting the deep recesses of my mind. This is what they sound like…”


‘Animal Magnetism’ is released by Telefuture and available as a digital download from http://collinsmusic.bandcamp.com/

https://www.facebook.com/collinstrax/

https://soundcloud.com/collinsofficial

https://open.spotify.com/album/3j6apimPtjZAke9JxGfipX


Text by Chi Ming Lai
24th January 2013