Tag: Kite Base (Page 2 of 2)

2017 END OF YEAR REVIEW

14 December 2017 /

Oscillate Mildly

The world found itself in a rather antagonistic and divisive state this year, as if none of the lessons from the 20th Century’s noted conflicts and stand-offs had been learnt.

Subtle political messages came with several releases; honorary Berliner Mark Reeder used the former divided city as symbolism to warn of the dangers of isolationism on his collaborative album ‘Mauerstadt’. Meanwhile noted Francophile Chris Payne issued the ELECTRONIC CIRCUS EP ‘Direct Lines’ with its poignant warning of nuclear apocalypse in its title song. The message was to unite and through music as one of the best platforms.

After a slow start to 2017, there was a bumper crop of new music from a number of established artists. NINE INCH NAILS and Gary Numan refound their mojo with their respective ‘Add Violence’ and ‘Savage (Songs From A Broken World)’ releases, with the latter recording his best body of work since his imperial heyday.

But the first quarter of the year was hamstrung by the anticipation for the 14th DEPECHE MODE long player ‘Spirit’, with other labels and artists aware that much of their potential audience’s hard earned disposable income was being directed towards the Basildon combo’s impending album and world tour.

Yet again, reaction levels seemed strangely muted as ‘Spirit’ was another creative disappointment, despite its angry politicised demeanour.

Rumours abounded that the band cut the album’s scheduled recording sessions by 4 weeks. This inherent “that’ll do” attitude continued on the ‘Global Spirit’ jaunt when the band insulted their loyal audience by doing nothing more than plonking an arena show into a stadium for the summer outdoor leg.

Despite protestations from some Devotees of their dissatisfaction with this open-air presentation, they were content to be short-changed again as they excitedly flocked to the second set of European arena dates with the generally expressed excuse that “it will be so much better indoors”.

By this Autumn sojourn, only three songs from ‘Spirit’ were left in the set, thus indicating that the dire record had no longevity and was something of a lemon.

Suspicions were finally confirmed at the ‘Mute: A Visual Document’ Q&A featuring Daniel Miller and Anton Corbijn, when the esteemed photographer and visual director confessed he did not like the album which he did the artwork for… see, it’s not just ELECTRICITYCLUB.CO.UK 😉

Devotees are quick to say all criticism of DEPECHE MODE is unfair, but the band can’t help but make themselves easy targets time and time again. But why should the band care? The cash is coming, the cash is coming…

Luckily, veteran acts such as OMD and Alison Moyet saved the day.

The Wirral lads demonstrated what the word spirit actually meant on their opus ‘The Punishment Of Luxury’, while the former class mate of Messrs Gore and Fletcher demonstrated what a soulful, blues-influenced electronic record should sound like with ‘Other’.

As Tony Hadley departed SPANDAU BALLET and Midge Ure got all ‘Orchestrated’ in the wake of ULTRAVOX’s demise, the ‘Welcome To The Dancefloor’ album directed by Rusty Egan, to which they contributed, became a physical reality in 2017.

Now if DM plonked an arena show into the world’s stadiums, KRAFTWERK put a huge show into a theatre. The publicity stunt of 2012, when Tate Modern’s online ticket system broke down due to demand for their eight album live residency, did its job when the Kling Klang Quartett sold out an extensive UK tour for their 3D concert spectacular.

No less impressive, SOULWAX wowed audiences with their spectacular percussion heavy ‘From Deewee’ show and gave a big lesson to DEPECHE MODE as to how to actually use live drums correctly within an electronic context.

Mute Artists were busy with releases from ERASURE, LAIBACH and ADULT. but it was GOLDFRAPP’s ‘Silver Eye’ that stole the show from that stable. LCD SOUNDSYSTEM returned after seven years with their ‘American Dream’ and it was worth the wait, with the most consistent and electronic record that James Murphy’s ensemble has delivered in their career.

To say Neil Arthur was prolific in 2017 would be an understatement as he released albums with BLANCMANGE and FADER while Benge, a co-conspirator on both records, worked with I SPEAK MACHINE to produce ‘Zombies 1985’ which was one of the best electronic albums of the year; and that was without the JOHN FOXX & THE MATHS stage play soundtrack ‘The Machines’.

Despite JAPAN having disbanded in 1982, solo instrumental releases from Steve Jansen and Richard Barbieri were particularly well-received, while David Sylvian made a return of sorts, guesting on ‘Life Life’ for ‘async’, the first album from Ryuichi Sakamoto since recovering from his illness. On the more esoteric front, Brian Eno presented the thoughtful ambience of ‘Reflection’, while THE RADIOPHONIC WORKSHOP had ‘Burials In Several Earths’.

2017 was a year that saw acts who were part of the sine wave of Synth Britannia but unable to sustain or attain mainstream success like BLUE ZOO, B-MOVIE, FIAT LUX and WHITE DOOR welcomed back as heroes, with their talent belatedly recognised.

Germany had something of a renaissance as veterans Zeus B Held and ex-TANGERINE DREAM member Steve Schroyder came together in DREAM CONTROL as another TD offshoot QUAESCHNING & SCHNAUSS offered up some impressive ‘Synthwaves’, while there actually was a new TANGERINE DREAM album, their first without late founder member Edgar Froese.

Eberhard Kranemann and Harald Grosskopf offered up some KRAUTWERK as other veterans like RHEINGOLD, DER PLAN, BOYTRONIC and DJ HELL also returned. Comparatively younger, 2RAUMWOHNUNG and KATJA VON KASSEL both offered up enticing bilingual takes on classic electronic pop.

The Swedish synth community again delivered with DAILY PLANET, PAGE, REIN, VANBOT, ANNA ÖBERG, 047 and LIZETTE LIZETTE all delivering fine bodies of work, although KITE were missed, with their German tour cancelled and release of their ‘VII’ EP postponed due to vocalist Nicklas Stenemo’s illness; ELECTRICITYCLUB.CO.UK wishes him all the best in his recovery.

Across the Baltic Sea, Finnish producer Jori Hulkkonen released his 20th album ‘Don’t Believe In Happiness’ while nearby in Russia, a duo named VEiiLA showcased an unusual hybrid of techno, opera and synthpop and ROSEMARY LOVES A BLACKBERRY offered a ‘❤’.

One of the year’s discussion points was whether Synthwave was just synthpop dressed with sunglasses and neon signs but whatever, Stateside based Scots but Michael Oakley and FM-84 made a good impression with their retro-flavoured electronic tunes.

It wasn’t all about the expats and in a territory as big as North America, there came a number of up-and-coming home grown electronic artists with LOST IN STARS, PARALLELS, PATTERN LANGUAGE, SPACEPRODIGI, COMPUTER MAGIC and BATTLE TAPES all gaining traction.

Canada’s PURITY RING infuriated some of their fanbase by working with KATY PERRY on three tracks for her album ‘Witness’. AESTHETIC PERFECTION’s new singles only policy was paying dividends and the Electro Mix of ‘Rhythm + Control’, which featured the promising newcomer NYXX, was one of the best tracks of 2017.

Female solo artists had strong presence in 2017 as FEVER RAY made an unexpected return, ZOLA JESUS produced her best work to date in ‘Okovi’ and Hannah Peel embarked on an ambitious synth / brass ‘Journey to Cassiopeia’. Meanwhile, SARAH P. asked ‘Who Am I’ and MARNIE found ‘Strange Words & Weird Wars’ as ANI GLASS and NINA both continued on their promising developmental path.

Other female fronted acts like KITE BASE, SPECTRA PARIS, BLACK NAIL CABARET, AVEC SANS, EMT and THE GOLDEN FILTER again reinforced that electronic music was not solely about boys with their toys.

Respectively, Ireland and Scotland did their bit, with TINY MAGNETIC PETS and their aural mix of SAINT ETIENNE and KRAFTWERK successfully touring with OMD in support of their excellent second album ‘Deluxe/Debris’, while formed out of the ashes of ANALOG ANGEL, RAINLAND wowed audiences opening for ASSEMBLAGE 23.

A bit of smooth among the rough, CULT WITH NO NAME released a new album while other new(ish) acts making a positive impression this year included KNIGHT$, MOLINA, ANNEKA, SOFTWAVE, THE FRIXION and KALEIDA.

Despite getting a positive response, both iEUROPEAN and SOL FLARE parted ways while on the opposite side of the coin, Belgian passengers METROLAND celebrated five years in the business with the lavish ‘12×12’ boxed set

Overall in 2017, it was artists of a more mature disposition who held their heads high and delivered, as some newer acts went out of their way to test the patience of audiences by drowning them in sleep while coming over like TRAVIS on VSTs.

With dominance of media by the three major labels, recognition was tricky with new quality traditional synthpop not generally be championed by the mainstream press. With Spotify now 20% owned by those three majors, casual listeners to the Swedish streaming platform were literally told what to like, as with commercial radio playlists.

It is without doubt that streaming and downloading has created a far less knowledgeable music audience than in previous eras, so Rusty Egan’s recent online petition to request platforms to display songwriting and production credits was timely; credit where credit is due as they say…

While ELECTRICITYCLUB.CO.UK does not dismiss Spotify totally and sees it as another tool, it should not be considered the be all and end all, in the same way vinyl is not the saviour of the music industry and in physics terms, cannot handle the same dynamic range as CD.

Music is not as emotionally valued as it was before… that’s not being old and nostalgic, that is reality. It can still be enjoyed with or without a physical purchase, but for artists to be motivated to produce work that can connect and be treasured, that is another matter entirely.

However, many acts proved that with Bandcamp, the record company middle man can be eliminated. It is therefore up to the listener to be more astute, to make more effort and to make informed choices. And maybe that listener has to seek out reliable independent media for guidance.

However, as with the shake-up within the music industry over the last ten years, that can only be a good thing for the true synthpop enthusiast. And as it comes close to completing its 8th year on the web, ELECTRICITYCLUB.CO.UK maintains its position of not actually promoting new acts or supporting any scene, but merely to write about the music it likes and occasionally stuff it doesn’t… people can make their own mind up about whether to invest money or time in albums or gigs.

Yes, things ARE harder for the listener and the musician, but the effort is worthwhile 😉

ELECTRICITYCLUB.CO.UK Contributor Listings 2017

PAUL BODDY

Best Album: QUASCHENING & SCHNAUSS Synthwaves
Best Song: BATTLE TAPES No Good
Best Gig: SOULWAX at O2 Ritz Manchester
Best Video: SOULWAX Is it Always Binary?
Most Promising New Act: MARIE DAVIDSON

IAN FERGUSON

Best Album: OMD The Punishment of Luxury
Best Song: SPARKS Edith Piaf (Said it Better Than Me)
Best Gig: SPEAK & SPELL at Glastonbury
Best Video: ALISON MOYET Reassuring Pinches
Most Promising New Act: MICHAEL OAKLEY

SIMON HELM

Best Album: PAGE Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut
Best Song: LAU NAU Poseidon
Best Gig: PAGE at Electronic Summer 2017
Best Video: PSYCHE Youth Of Tomorrow
Most Promising New Act: ANNA ÖBERG

CHI MING LAI

Best Album: I SPEAK MACHINE Zombies 1985
Best Song: AESTHETIC PERFECTION Rhythm + Control – Electro Version
Best Gig: OMD + TINY MAGNETIC PETS at Cambridge Corn Exchange
Best Video: I SPEAK MACHINE Shame
Most Promising New Act: MICHAEL OAKLEY

RCHARD PRICE

Best Album: FADER First Light
Best Song: OMD Isotype
Best Gig: MARC ALMOND at London Roundhouse
Best Video: GOLDFRAPP Anymore
Most Promising New Act: NINA

STEPHEN ROPER

Best Album:  OMD The Punishment of Luxury
Best Song: DUA LIPA Be The One
Best Gig: HANNAH PEEL at Norwich Arts Centre
Best Video: PIXX I Bow Down
Most Promising New Act: PIXX

MONIKA IZABELA TRIGWELL

Best Album: ZOLA JESUS Okovi
Best Song: GARY NUMAN My Name Is Ruin
Best Gig: ERASURE at London Roundhouse
Best Video: GARY NUMAN My Name Is Ruin
Most Promising New Act: ANNA ÖBERG

Text by Chi Ming Lai
14th December 2017

BLACK NEEDLE NOISE Lost In Reflections

23 June 2017 /

Last year saw yet another metamorphosis for the legendary John Fryer, this time masquerading as BLACK NEEDLE NOISE.

The first opus under the name, which contemplates the scratching sound of black record, ‘Before The Tears Came’, introduced a plethora of sounds and noises performed by the cream of who is who in the world of vocals. Elena Alice Fossi, Zia, Ledfoot, Andreas Eleveness, Attasalina, Jarboe and Betsy Martin amongst others, all got invited to share the “strange and interesting journey”, which proved to be a rather popular outing.

Of course Fryer isn’t a stranger to exquisite productions. Having been a living and breathing backbone of the famous London Blackwing Studios for nearly a decade, during its most prominent years of synthpop, with the likes of DEPECHE MODE, FAD GADGET, COCTEAU TWINS, DEAD CAN DANCE and many more, Fryer learnt his graft masterfully, also being the responsible adult as far as the production of NINE INCH NAILS’ ‘Pretty Hate Machine’ was concerned.

More recently the man himself lent his skills on the wonderfully ethereal MURICIDAE and fantastically glamorous SILVER GHOST SHIMMER, at the same time being an active producer of other artists.

A year on, and the noise magician is ready to serve his follow-up dish of BLACK NEEDLE NOISE, this time thoughtfully titled ‘Lost In Reflections’. Having recently swapped his home studio in the frosty Oslo onto the warmth of LA, Fryer has been busy with further collaborations.

The opening one being, ‘Treasured Lies’, with the returning appearance of Zia Land. This emphatic track is a gripping catalyst of emotion, laced with ominous musical elements and Fryer’s signature guitar as a closing point.

Kendra Frost of KITE BASE makes her entrance on the newest long player twice, firstly on simplistic ‘Warning Sign’ and secondly on the empirical ‘This Kind Of Road’. The latter is a quintessential Fryer track, reminiscent of his ability to build the whole picture in an atmospheric manner of flowing intricacies, without the danger of overloading or dislocating the musical joints. A harsher reality is introduced on the quirky ‘She Stands On A Storm’, even though the angelic voice of Andrea Kerr is delicately interwoven within the grittier, almost STABBING WESTWARD-like arrangement. The track represents an idea of “killing with delicateness”, and it’s exactly what it does.

The highlight of the long player enters half way through, with the generously exquisite ‘Heaven’ with Jennie Vee, stealing the limelight with her distinctive vocal, crying out the melancholy and dreaminess a la Angelo Badalamenti. Oh please David Lynch, use this for the new ‘Twin Peaks’ series!

OMNIFLUX’s Mahsa Zargaran creates magic with her assimilating vocal extravaganza, utilising a soundscape of its own, canvassing the bass heavy background and a profusion of turbulence.

Clearly impressed with Mimi Page’s guestwork on the latest DELERIUM’s album ‘Mythologie’, Fryer borrows the multitalented singer to perform on magically atmospheric ‘Swimming Through Dreams’. As if taken from the parallel reality; this ghostly, mist engulfed gem features humming sounds, which drift away into another world, until “nothing remains”. Indeed ‘And Nothing Remains’ with DEAD LEAF ECHO’s Ana Breton. Continuing the theme of ethereal, otherworldly and from another reality, Breton’s delicate songsmanship glides over abrasive textures of Fryer’s musical aura.

Where one genius meets another is on ‘A Shiver Of Want’. Probably the biggest collaboration on ‘Lost In Reflections’ is that with the legendary Bill Leeb. Leeb, classed as one of the most influential electronic masters, as showcased on his works with FRONT LINE ASSEMBLY and DELERIUM, lends his grainy vocal over a timeless track, which could have easily been released in another era. The piece drags under, creates an uncertainty and leads into the unknown, but the attraction of being pulled is irresistible.

Sivert Høyem guests on ‘Breathless Speechless’, which changes the atmosphere, still keeping the slower tempo in place. Dreamy to the point of oblivion, scary, but addictive, dirty but virgin, seductive, yet clean with that guitar again, which leads to the sinisterly terrifying concepts of The Black Lodge. Just waiting for Bob to appear out of nowhere…

The closing ‘Neon Noir’ couldn’t be more different from the rest of the production; faster, more positive, inviting and very synthy, Fryer gathers the posse to follow the “neon shines so bright” and lose themselves in music. Fine by us.

Refined, very arty, evoking different emotions is what BLACK NEEDLE NOISE is about. John Fryer, with a wealth of experience, paints various musical landscapes with a little help of capable vocalists.

More cinematic this time round, the master pushes the boundaries of what’s acceptable and inevitably he wins, again.

‘Before The Tears Came’ is available as a download album from
https://blackneedlenoise.bandcamp.com/album/lost-in-reflections

https://www.facebook.com/BlackNeedleNoise/

https://www.facebook.com/John.Fryer.Official/

Text by Monika Izabela Trigwell
23rd June 2017

KITE BASE Latent Whispers

28 May 2017 /

KITE BASE comprise of two bass guitars, electronics, a Tempest drum machine named Alan and the haunting vocals of Kendra Frost.

Defined as: “One of the main starting points found in origami, an opening move made with simple folds to generate a firm and fertile foundation for creativity. It can become whatever you want it to be- simple or complex- based on the imagination of the creator, inspiration and chance”, KITE BASE started as a side project of SAVAGES bassist Ayşe Hassan.

While that quartet’s sound is distinctly conventionally driven, their association with TRENTEMØLLER has seen the band’s various members experimenting with technologically derived textures, notably on a remix of ‘Surrender’ and Jehnny Beth’s collaboration ‘River In Me’ for the Danish producer’s solo album ‘Fixion’. And now comes KITE BASE’s debut longer player Latent Whispers’.

Beginning with the wonderfully hypnotic ‘Transition’, the juxtaposition of rhythm machine and sequenced blops with rugged melodic four string inevitably recalls NEW ORDER. It’s a fine slice of modern gothic that captivates thanks to Frost’s forlorn voice. It is also undoubtedly the album’s highlight.

The appropriately named ‘Dadum’ is more steadfast with the cacophony of voices and bass noise fused into a cascading wall of sound. The stuttering ‘Blueprint’ provides a backdrop for buzzing synths and pronounced bass motifs, while the moody ‘Erase’ with its unusual rhythmic template of claps and flat toms is kept minimal, allowing Frost’s vocals to flourish.

On ‘Soothe’, Frost and Hassan offer plenty of feisty energy, tribal percussive mantras and deep programmed bass; it’s moody although less obviously electronic than ‘Transition’.

Synthetic percussion shapes ‘Peripheral Vision’ while with a penetrating live feel, ‘Nineteen’ makes more of the gritty scissored bass action. The even livelier ‘Grids’ exudes a percussive rumble that JOY DIVISION would be proud of. However, ending with ‘Miracle Waves’, it is a shame that the more transient and superior single remix version isn’t included.

While there’s room for further development within their twin bass guitar / electronic mix, ‘Latent Whispers’ acts as a promising first salvo to showcase KITE BASE and particularly the vocal presence of Kendra Frost. And with Frost’s appearance on a number of tracks for THIS MORTAL COIL studio legend John Fryer and his BLACK NEEDLE NOISE project, it’s a good job done.

‘Latent Whispers’ is available as a CD, vinyl LP and download via https://kitebase.pmstores.co/

http://kiteba.se/

https://www.facebook.com/kitebasemusic/

https://twitter.com/KiteBaseMusic

https://www.instagram.com/kiteba.se/

Text by Chi Ming Lai
28th May 2017

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2016

8 December 2016 /

Overall, 2016 was not a vintage year…

But there were plenty of quality songs on offer throughout the year and a number were significantly outstanding.

Rounding down to a final 30 songs is always difficult and among the acts in the initial shortlist were ADAM IS A GIRL, DELERIUM, EMIKA, KALEIDA, LADYHAWKE, METROLAND, PRESENCE OF MIND, REIN, FIFI RONG, SPRAY, WHITE LIES and the now disbanded ANALOG ANGEL.

After much deliberation and with a restriction of one song per artist moniker, here are ELECTRICITYCLUB.CO.UK’s 30 Songs of 2016 in alphabetical order…

APOPTYGMA BERZERK Rhein Klang

Futurepop veteran Stephan Groth certainly put his head on the line releasing an instrumental Sci-Fi concept album as an APOPTYGMA BERZERK long player. But with influences like KRAFTWERK, TANGERINE DREAM and Jean-Michel Jarre, ‘Exit Popularity Contest’ was an artistic success. Full of Groth’s electronic lifeblood, ‘Rhein Klang’ was a wonderful oscillating slice of synth motorik in tribute to NEU!

Available on the album ‘Exit Popularity Contest’ via Hard: Drive

http://www.theapboffice.com/

JOHAN BAECKSTROM Like Before

Johan Baeckström first gained recognition as part of DAILY PLANET with vocalist Jarmo Ollila. His first album ‘Like Before’ drew favourable comparisons to Vince Clarke. A competent vocalist himself, the long player’s title song instantly recalled the glory days of ERASURE with its precise, yet emotive synthpop with a message to “swim the oceans like before”.

Available on the album ‘Like Before’ via Progress Productions

https://www.facebook.com/bstrommusic/

BEYOND THE WIZARD’S SLEEVE Diagram Girl

BEYOND THE WIZZARD’S SLEEVE Diagram GirlBEYOND THE WIZARDS SLEEVE’s ‘Diagram Girl’ was the work of Erol Alkan and Richard Norris, formally of THE GRID. Featuring the unisex vocals of Hannah Peel, a deeper pitch shift provided a psychedelic out-of-this-world feel which bizarrely fitted in alongside the songstress’ dreamily breathy tones. Meanwhile the pulsing electronic soundtrack had surreal echoes of OMD.

Available on the album ‘The Soft Bounce’ via Phantasy Sound

https://www.facebook.com/beyondthewizardssleeve/

BLACK NEEDLE NOISE featuring KENDRA FROST Warning Sign

It can be tricky keeping up with the prolific studio legend John Fryer. His BLACK NEEDLE NOISE project employed a flexible lead vocal policy and focussed on just single songs. Magically breathy, ‘Warning Sign’ employed the soaring vocals of Kendra Frost from KITE BASE against a spacious backdrop of synths, beats and guitars for a brooding sonic amalgam.

Available as a download single via https://blackneedlenoise.bandcamp.com/

https://www.facebook.com/BlackNeedleNoise/

https://www.facebook.com/kitebasemusic/

CIRCUIT3 Hundred Hands

With a mighty Linn Drum engine room that would make Martyn Ware proud and some rugged lead synth, ‘Hundred Hands’ was the best track on CIRCUIT3’s debut album. The work of Dublin-based Peter Fitzpatrick, he even dropped in hints of KRAFTWERK’s ‘Showroom Dummies’. The parent album ‘siliconchipsuperstar’ was classic styled synthpop made by someone weaned on classic synthpop.

Available on the album ‘siliconchipsuperstar’ via https://circuit3.bandcamp.com/

http://www.circuit3.com/

RUSTY EGAN PRESENTS Thank You

rusty-egan-presents-wttdfThe elegiac ‘Thank You’ utilised some ‘Endless Endless’ vocodered stylings over layers of sweeping synthetic strings and a gentle metronomic pulse. A list of Rusty Egan’s musical heroes, this tone poem was a touching acknowledgement of electronic music’s marvellous history. A simple yet highly effective idea, the beauty is in its realisation. Appropriately, it ends with a touchingly poignant “VISAGE… thank you”.

Available on the album ‘Welcome To The Dancefloor’ via Black Mosaic from
http://www.pledgemusic.com/projects/rusty-egan-welcome-to-the-dancefloor

http://rustyegan.net/

JOHN FOXX & THE MATHS A Man & A Woman

‘A Man & A Woman’ was a surprise in that it was less rigid than previous JOHN FOXX & THE MATHS recordings. Featuring some enchanting whispers from the seemingly ubiquitous Hannah Peel, it was an interesting departure that even featured some subtle acoustic guitar flourishes. Foxx’s work is still under-appreciated so ‘21st Century: A Man, A Woman And A City’ provided a chance to catch up.

Available on the album ’21st Century: A Man, A Woman And A City’ via Metamatic Records

http://www.metamatic.com/

ANI GLASS Y Ddawns

Ani Glass - Y Ddawns (photo by Rhodri Brooks)Welsh songstress Ani Glass served her apprenticeship with girl groups GENIE QUEEN and THE PIPETTES and worked with Andy McCluskey and Martin Rushent respectively along the way. ‘Y Ddawns’ (‘The Dance’) was a wonderfully exhilarating pop art adventure. Swathed in synths and driven by a metronomic beat, it was a declaration of hope, deeply voiced in the verse with a gorgeous soaring resonance in the chorus, about “finding solace and meaning in music, dance, art and culture”.

‘Y Ddawns’ is available as a download single from https://aniglass.bandcamp.com/

https://www.facebook.com/aniglasscymru/

THE HEARING Kabeldon

Helsinki-based Ringa Manner has been making crystalline sine waves as THE HEARING. Her second album ‘Adrian’ boasted the sub-eight minute epic ‘Kabeldon’. A outstanding electronic work with an affinity to Norwegian songstress Susanne Sundfør, there were also bows to DAVID BOWIE’s ‘I’m Deranged’ when the mad cascading piano kicked in alongside the frantic drum ‘n’ bass and steadily building cacophony of noise. Then, when it appeared all over, the song mutated into an eloquent Nordic dubstep ballad!

Available on the album ‘Adrian’ via Solina Records

https://www.facebook.com/Ringasofi/

I AM SNOW ANGEL Losing Face

I AM SNOW ANGEL DesertThe project of Julie Kathryn, the haunting tension of ‘Losing Face’ accentuates a variety of electronic and organic colours. A muted chop’ n’ chuck provides the percussive backbone while an eerie soundscape is steadily configured as Kathryn succumbs to lust. “You’re different when you’re on top of me… how I hate the state I’m in” she paradoxically reflects, as bubbling detuned synth swirls and acoustic guitar penetrate the foreboding atmosphere in the vein of ‘Felt Mountain’ era GOLDFRAPP.

Available on the EP ‘Desert’ via I Am Snow Angel

http://iamsnowangel.com/

JEAN-MICHEL JARRE & CYNDI LAUPER Swipe To The Right

Jarre-electronica2After decades of composing lengthy synth symphonies, there must have been times when the French maestro must have just wanted to do a four minute pop tune. This Jean-Michel Jarre managed in a quirky collaboration with Cyndi Lauper. No stranger to electronic forms, particularly with her under rated ‘Bring Ya To The Brink’ album of 2007, ‘Swipe To The Right’ had big bass riffs galore for a great poptastic exploration, while reflecting on the use of Tinder in modern relationships.

Available on the album ‘Electronica 2: The Heart Of Noise’ via Columbia / Sony Music

http://jeanmicheljarre.com/

http://www.cyndilauper.com/

KID MOXIE Still High

KID MOXIE Perfect ShadowKID MOXIE is Elena Charbila, the Greek born singer and actress who likes to make music with friends. Working best in collaboration, her well-received album ‘1888’ showed she had blossomed and displayed an inventive maturity following the gutter pop of her early releases. From her best body of work yet in ‘Perfect Shadow’, the seductive ‘Still High’ was gloriously cinematic synthpop with a touch of maiden iciness that affirmed this artistic progression.

Available on the mini-album ‘Perfect Shadow’ is via West One Music Group

http://www.facebook.com/kidmoxie

LIEBE The Box

One-time label mates of MARSHEAUX, LIEBE are the electro disco duo comprising of George Begas and Dimos Zachariadis who could be considered the Greek PET SHOP BOYS. Sitting on that difficult bridge between pastiche and post-modern, their romantic disco friendly sound mines Europop while adding the vocal drawl of Jarvis Cocker. The magnificent Jean-Michel Jarre goes Italo disco of ’The Box’ was the highlight of their wonderfully escapist pop album ‘Revolution Of Love’.

Available on the album ‘Revolution Of Love’ via Emerald & Doreen Recordings

http://www.liebe.gr

MARSHEAUX Burning

Recorded in London and Athens, a new approach saw MARSHEAUX’s trademark wispiness blended in with a subtle tone of aggression. The opening song on ‘Ath.Lon’, the album title of which was derived from the cities of Athens and London, ‘Burning’ was a harsh but sexy slice of synth expressionism. While clearly referencing darker electronica forms with its hypnotising percussive motif, it crucially maintained the essence of a good tune.

Available on the album ‘Ath.Lon’ via Undo Records

http://www.marsheaux.com/

MESH The Fixer

MESH-Looking-SkywardWith their new album ‘Looking Skyward’, MESH alleviated any fears that they might not be able to sustain the artistic momentum seeded by 2013’s ‘Automation Baby’. Despite the lyrically negative nature of ‘The Fixer’, a driving bass triplet attached to a solid four-to-the-floor beat and an anthemic topline shed a light of optimism amongst the gloom. MESH have firmly carved their own niche and any disillusioned DEPECHE MODE fans should consider joining the fold immediately…

Available on the album ‘Looking Skyward’ via Dependent Records

http://www.mesh.co.uk/

METROLAND Man / Machine

In August 2015, METROLAND’s sound engineer and close friend Louis Zachert, aka Passenger L, passed away. The Brussels based duo recorded ‘Things Will Never Sound The Same Again’, a musical eulogy created from scratch as their way of paying homage to their fellow passenger. The uplifting ’Music / Machine’ with its Jarre-esque melodies started as a METROLAND remix of MUSICOCOON, a project involving Louis and his friend Philippe Malemprée. Kindly donated, its presence is in honour of Louis as the last piece of music he ever worked on.

Available on the album on the album ‘Things Will Never Sound The Same Again’ via Alfa Matrix

http://www.metrolandmusic.com/

NIGHT CLUB Pray

night-club-requiem-for-romanceBuoyed by the acclaim of their EP trilogy and their power as a live act, NIGHT CLUB experimented with a more aggressive synth rock disco sound for their debut long player ‘Requiem For Romance’. Playing around with a range of unsettling vocal pitch shifts and religious imagery for the sinister overtones of ‘Pray’, Emily Kavanaugh and Mark Brooks have more than substantiated their position as one of North America’s best independent electronic pop duos.

Available on the album ‘Requiem For Romance’ via Gato Blanco from http://nightclubband.com/album/requiem-for-romance

http://nightclubband.com/

HANNAH PEEL All That Matters

HANNAH PEEL Awake But Always DreamingIt’s been a busy year for Hannah Peel; layered with staccato voice samples and uplifting bursts of symphonic strings, the driving arpeggio laden ‘All That Matters’ was her calling card, not just as her most synthpop offering yet but also as a mantra to live in the moment. The opening track of her second album ‘Awake But Always Dreaming’, her very personal musical journey themed around memory and the effects of dementia was a startling artistic triumph.

Available on the album ‘Awake But Always Dreaming’ My Own Pleasure

http://www.hannahpeel.com

PET SHOP BOYS The Dictator Decides

petshopboys-superNever mind their age, PET SHOP BOYS are still ‘The Pop Kids’ and ‘Twenty-something’ ones at that. But on the moodier ‘The Dictator Decides’, there comes one of those politically laced introspective numbers in the vein of ‘My October Symphony’ and ‘Don Juan’ that Tennant and Lowe always do so well. As Tennant deadpans “if you get rid of me, we can all be free”, the song provides an amusing surreal narrative of a tyrannical politician bored of his outright power and wanting to live a normal life.

Available on the album ‘Super’ via x2

http://www.petshopboys.co.uk/

PSYCHE Ring The Bells

From the Cold War Night Life curated ‘Heresy: A Tribute To Rational Youth’, one of the highlights from the collection is PSYCHE’s take on ‘Ring The Bells’ from appropriately, RATIONAL YOUTH’s ‘Cold War Night Life’ debut. The clattering 808 beat and elegantly haunting sweeps combined with Darrin Huss’ mournful vocal provide an atmospheric reworking that betters the original and reflects the decades long kinship between RATIONAL YOUTH and PSYCHE.

Available on the album ‘Heresy: A Tribute To Rational Youth’ (V/A) via Cold War Night Life from http://www.stormingthebase.com/various-heresy-a-tribute-to-rational-youth-3lp-vinyl-2cd/

http://www.psyche-hq.de/

SARAH P. I’d Go

SARAH P FreeGreek electropop goddess Sarah P. started her music career as the frontwoman of KEEP SHELLY IN ATHENS. With ‘I’d Go’ she said: “Most of the people do not get that this song is not as happy as it sounds at a first listen”. In her own words she confesses: “I’m a childish woman and nobody can stop me from being one” and adds “If there’s anything I stand for with all my heart is the ‘Go be you’ motto!” – her full length debut long player ‘Who Am I?’ is eagerly awaited.

Available on the mini-album ‘Free’ via EraseRestart

http://sarahpofficial.com/

SILENT WAVE War

SILENT WAVE WarEnigmatic Gothenburg electronic trio SILENT WAVE possess the hauntronica hallmarks of fellow Swedes THE KNIFE. ‘War’ is a reminder of how that sibling duo once combined tunes with their experimentation. With a suitably dark Nordic vibe, it could easily have come off ‘Silent Shout’ and while the template is undoubtedly derivative, ‘War’ is extremely well executed.

Available on the download single ‘War’ via Silence Records

https://www.facebook.com/silentwaveofficial/

STARCLUSTER & MARC ALMOND To Have & Have Not

starcluster-marc-almond-silver-city-rideWith his career spanning 10 CD box set ‘Trials Of Eyeliner: Anthology 1979-2016’, the last thing anyone expected from Marc Almond this year was an electronic pop album. Almond first recorded with Anglo German production duo STARCLUSTER in 2008. A great cover version, ‘To Have & Have Not’ was originally recorded by RONNY and retains the stern manner of the former Parisian model, while giving this slice of modern Weimar Cabaret a new lease of life.

Available on the album ‘Silver City Ride’ via Closing the Circle / Private Records

http://www.marcalmond.co.uk/

TINY MAGNETIC PETS Not Giving In

An appearance at the 2015 ELECTRI_CITY_CONFERENCE in Düsseldorf reinforced TINY MAGNETIC PETS’ reputation as an intriguing live act by winning over figures such as Rusty Egan and Andy McCluskey. The soulful ‘Not Giving In’ makes the most of Paula Gilmer’s enticingly wispy voice. With detuned pulses contrasting the digital chimes and staccato voice samples, an unusual stuttering reggae inflected beat enhances the atmosphere.

Available on the EP ‘The NATO Alphabet’ via https://tinymagneticpets.bandcamp.com/

https://www.facebook.com/Tiny-Magnetic-Pets-69597715797/

TRAIN TO SPAIN Believe In Love

TRAIN TO SPAIN Believe In LoveHighly exuberant and featuring a poptastic four chord progression, ‘Believe In Love’ was TRAIN TO SPAIN’s first recording to feature producer Lars Netzel aka NOT LARS as a full-time member. It developed on the promise of songs like ‘Passion’ from their debut album ‘What it’s All About’ released in 2015 and significantly gave more space within Jonas Rasmusson’s classic synthpop framework for lead singer Helena Wigeborn to exude her charm in. But it seems TRAIN TO SPAIN are back to a duo again…

Available on the download single ‘Believe In Love’ via Subculture Records

http://www.traintospain.se/

TRENTEMØLLER River In Me

TRENTEMØLLER River In Me‘River In Me’ was an unusual TRENTEMØLLER recording in that Jehnny Beth from SAVAGES actually came to his home studio in Copenhagen to lay down her vocals. The end result possessed a Gothic intensity, yet was vibrant and melodic with Beth’s Siouxsie-like tones complimenting the hybrid synth laced soundscape. While some complained that ‘River In Me’ was not as dark as the Dane’s previous work, it was his most immediate offering yet with a fine balance of accessibility and mood.

Available on the album ‘Fixion’ via In My Room

http://www.anderstrentemoller.com/

VILE ELECTRODES The Vanished Past

vile-electrodes-in-the-shadows-of-monumentsIt’s the avant pop approach reminiscent of early OMD that sets VILE ELECTRODES apart from and makes them so captivating. ‘The Vanished Past’ is a potent successor to the drama of ‘Deep Red’, complete with a mighty drum cacophony à la OMD’s ‘Navigation’. Bleak and wonderful, “not everything is as it seems” as a forlorn stranger joins in. As the seven minute adventure unfolds like a lost OMD epic, that stranger begins to sound like a certain George Andrew McCluskey!

Available on the album ‘In The Shadows Of Monuments’ via http://vileelectrodes.bigcartel.com/

http://www.vileelectrodes.com/

VILLA NAH Stranger

From their superb second album ‘Ultima’, ‘Stranger’ was a brilliant return for VILLA NAH after a five year absence. Front man Juho Paalosmaa said: “‘Stranger’ is a play on words; how somebody you’ve known can turn stranger over the span of time… and end up as a complete stranger in the process. I don’t think it’s a track I would’ve written as a 20 year old. It requires some years of age and experience to really understand how time can change people, including yourself.”

Available on the album ‘Ultima’ via Solina Records

https://www.facebook.com/villanah/

WRANGLER Stupid

If CABARET VOLTAIRE had hijacked Compass Point Studios in The Bahamas while TALKING HEADS were recording ‘Speaking In Tongues’, the end result might have ended up sounding a bit like this. ‘Stupid’ sees Stephen Mallinder in warped falsetto mode over a hypnotic sequence of menacing synths from Benge and Phil Winter. The track’s rhythmic heart creates an almost robotic, yet electro-funk feel for one of the undoubted highlights on WRANGLER‘s ‘White Glue’ album.

Available on the album ‘White Glue’ via MemeTune

https://www.facebook.com/mallinderbengewinter/

YELLO Electrified II

Despite 37 years of making music together, the distinctive sound of YELLO remains intriguing and distinctly European and the new album ‘Toy’ delighted fans. On the superb ‘Electrified II’ (the original version appeared on Boris Blank’s boxed set of the same name), Dieter Meier has his mind blown by the velvet voice of Malia. As she exclaims “Life’s a bitch and I’m no witch”, this could be Shirley Bassey indulging in some seductive energetic electro-cabaret.

Available on the album ‘Toy’ via Polydor / Universal Music

http://yello.com

Text by Chi Ming Lai
8th December 2016

Troika! Live featuring KITE BASE, HANNAH PEEL + I SPEAK MACHINE

11 September 2016 /

Troika from Russian: тройка “A group of three working together…”

Promising an evening of “triple synth sorcery”, the Troika! tour reached The Shacklewell Arms in London as the line-up of KITE BASE, I SPEAK MACHINE and Hannah Peel each presented their own variations on the expansive theme of electronic music.

As Hannah Peel said recently: “although the music from each act is different, it does feel similar in a way”. First up was I SPEAK MACHINE, an audio / visual collaboration between musician Tara Busch and filmmaker Maf Lewis. Producing brooding, unsettling soundtracks for various film projects, their approach has been inspired by Ennio Morricone and Sergio Leone, who used to discuss score ideas for scenes while scripts were being written for the classic Spaghetti Westerns.

Armed with a Minimoog Voyager, Busch performed solo and showcased live soundtracks from a horror short ‘The Silence’, a digital book adventure ‘Strata’ and the soon-to-be-released, self-explanatory ‘Zombies 1985’; the latter is musical collaboration with Benge of WRANGLER who was in the audience with his bandmates Stephen Mallinder and Phil Winter. The film itself even features Gary Numan’s three daughters Persia, Raven and Echo in cameo roles! But it wasn’t just about weird, abstract collages set to arty cinema, there were songs too.

With her operatic soprano stylings, Busch treated the crowd to bizarre but enjoyable covers of ‘The Sound Of Silence’ and ‘Cars’. It came over like early GOLDFRAPP on acid, or “Doris Day in outer space” as JOHN FOXX once described her sound; Numanoids will either be fascinated or enraged when Busch opens for Gary Numan on his September 2016 tour.

Throwing caution to the wind with a set comprising only of material from her soon-to-be-released sophomore long player ‘Awake But Always Dreaming’, Hannah Peel offered some emotive numbers dealing with the spectre of memory loss and dementia. With a combination of piano-led, effects laced songs like ‘Invisible City’ and ‘Tenderly’ alongside more direct synthpop offerings such as ‘Hope Lasts’, she set the scene.

Augmented by drummer Daisy Palmer, a musician adept at a variety of percussive colours that complimented Peel’s hybrid sound, new single ‘All That Matters’ utilised live arpeggios and a bridging jam to add a looser element to the usual rigid electronic format.

The crowd were in total silence for an impressively forlorn performance of Paul Buchanan’s ‘Cars In the Garden’ on solo music box, but it was the progressive experimental overtures of ‘Awake But Always Dreaming’ and ‘Foreverest’ that startled all those present; the latter mutated into a powerful violin versus Schaffel workout. “Hot, sweaty and emotional” was what Peel had to say on the conclusion of her evening’s work.

Following on, KITE BASE offered some gritty scissored bass action, accompanied by a DS Tempest drum machine and assorted programmed electronics. Lead vocalist Kendra Frost recently collaborated with John Fryer on ‘Warning Sign’ for his BLACK NEEDLE NOISE project, after the studio legend heard KITE BASE’s eerie cover of NINE INCH NAILS ‘Something I Can Never Have’, the original of which he co-produced.

KITE BASE started as a side project of SAVAGES bassist Ayşe Hassan and while that quartet’s sound is distinctly conventionally driven, their association with producer TRENTEMØLLER has seen the band’s various members experimenting with technologically derived textures.

Opening with their new single ‘Soothe’, Frost and Hassan offered plenty of feisty energy. On tracks like ‘Miracle Waves’, rhythmical stabs of NEW ORDER escaped while Frost’s dark, brooding vocals haunted in a similar fashion to Christina Wood from the more overtly electronic duo KALEIDA. Closing with their debut song ‘Dadum’, the cacophony of voices and noise fused into a cascading wall of sound.

Too often, multiple line-up events comprising of disparate acts from conflicting genres have been the norm in the independent music scene in an attempt to appeal to as many as possible, happy that a small rotating door audience will keep the bar in business. But presented with one of the most eye-catching poster images of recent years, Troika! was an enticing evening of music where the venue was packed from start to finish.

It ultimately proved how a thoughtfully curated bill, featuring acts with appropriate artistic connections, can work.

KITE BASE’s new single ‘Soothe’ b/w ‘Daum’ is released by Flashback London on 14th October 2016

Hannah Peel’s new album ‘Awake But Always Dreaming’ is released by My Own Pleasure 23rd September 2016

I SPEAK MACHINE tours with Gary Numan throughout September, the ‘Zombies 1985’ soundtrack will be released by Lex Records sometime in 2017

http://kiteba.se/

http://www.hannahpeel.com

http://www.ispeakmachine.com/

Text and photos by Chi Ming Lai
Troika! Poster by Garry Hensey
11th September 2016

Newer posts »

© 2017 ELECTRICITYCLUB.CO.UK | Email: theelectricityclub@googlemail.com
Privacy Policy

Up ↑