“Pop. What else?” is the mission statement of Athens trio SOMEONE WHO ISN’T ME.
Also known as S.W.I.M. by those who find that a bit of a mouthful, the feisty threesome of Marilena Orfanou (synths, guitars + vocals), Maria Hatzakou (drums + vocals) and Gina Dimakopoulou (guitars + vocals) swear by analogue sounds, toy synths, chaotic guitars, fake strings, and off-beat rhythms complimented by deep voices in English and Greek.
The new single ‘Pinku’ comes over an interesting snarly mix of TR/ST and KITE crossed with NEW ORDER. Meanwhile, its superb visual presentation directed by Alkistis Terzi features striking time freeze effect portraits of five Biblical female figures Jezebel, Lilith, the Virgin Mary, Salome and Delilah.
The debut album ‘Dance With You’ was released in February 2019 by Amour Records, the Hellenic home of SARAH P. and KID MOXIE. SOMEONE WHO ISN’T ME’s two most overtly synthy numbers on the album are both instrumentals; ‘Night Flight’ is an airy dream pop number offset by an uptempo backbone while the electronically orchestrated cinematics of ‘Strange’ flirts with the enigmatic aura of arthouse soundtracks.
Meanwhile, the title song was a grand statement of baroque indie with a superb cutting synth solo while the moody synthesized shoegaze of ‘Gomenaki’ was a European radio hit in the summer of 2018; its accompanying video won the 2019 Sound Award for ‘Best Music Video’ at the Indie Memphis Film Festival.
KITE, “Sweden’s best kept pop-secret”, made their long awaited return to the live stage with a trio of sold-out shows at the Stockholm Slaktkyrkan.
Having produced some of the best electronic pop in the last decade, the enigmatic duo of Nicklas Stenemo and Christian Berg were on the crest of wider international success in 2017 with a new EP ‘VII’ in the can. But KITE had to cancel their German tour following concerns over Stenemo’s health later that Autumn.
The period of music afterwards was empty without KITE, so when Stenemo and Berg announced their return a year later with a one-off date at the Slaktkyrkan, excitement was in the air. Ticket demand led to the Slaktkyrkan date becoming a weekend residency as well as the announcement of more gigs in Sweden.
As Brian Eno and his lengthy landmark in electronic ambience ‘Discreet Music’ set the mood for the start, the unmanned stage looked impressive with ten synths of various vintages including a Roland JX8P, Korg Micro Preset, Dave Smith Prophet 08, Roland RS101, Dave Smith Pro-2, Korg Sigma and Studio Electronics SE1 plus tubes of fluorescent orange lighting set in rows of six around the stage and large Paiste cymbals fixed vertically to act as reflectors.
As ‘Discreet Music’ faded out after 15 minutes amongst increasing plumes of smoke, KITE took their positions with Berg in a black poncho capeing him like a Norse Rick Wakeman by his six keyboards.
Meanwhile Stenemo stood tall and stoic with his slightly more modest four keyboards, like a victorious tribal leader returning from the wilderness after another hard won battle, this time against the trials and tribulations of the human condition. With that in mind, the rousing ‘I Just Wanna Feel’ was a perfect way to open proceedings and affirm their comeback.
With its splitting Alan Wilder-esque bassline, I Can’t Stand’ resonated off the orange tube light set now at full brightness, recalling those radiant electric bar heaters of old and giving off almost as much energy as the music.
Taking in a deeper textural mood, ‘Count The Days’ offered some emotive respite; the song has by Stenemo’s own confession, prophetically documented an autobiographical warning to his recent burnout, with words that “I’ve become my own worst enemy in a world on fire I’m safe at home, live in denial but the pressures on and I justify it with the sleepless nights” being particularly poignant.
The gloriously majestic ‘Up For Life’ from 2015 has also taken on greater resonance with Stenemo’s rugged emotive cry admitting “Life to me you see don’t come so easily, but I’m up for tears, up for life, I’m up for heartache”. But despite the melancholy, there was optimism, especially alongside Berg’s expansive synth interplay which turned into VANGELIS after an extended ambient interlude reminiscent of MIRRORS’ ‘Secrets’, both ambitious works clocking in at over 9 minutes.
Fittingly ‘Demons & Shame’, KITE’s darkest and most epic offering yet followed. Confronting the despair that his life threw up while pursuing his dreams, Stenemo’s harrowingly powerful delivery had the audience enthralled. Surrounded by ritualistic drum mantras and Berg’s eerie bass drones, if Ennio Morricone had composed music for Nordic Noir dramas, it would have sounded like this.
For many KITE fans, ‘The Rhythm’ from 2013 is still considered one of their best songs with its trancey backbone and chanty gothic rock edge coming over like JEAN-MICHEL JARRE meeting IAMX at Berghain. Bursting with catchy crossover potential, it probably drew the biggest physical reaction of the evening from the crowd, with Stenemo making the odd leg kick in support.
The whirring pulsing atmospheres of ‘True Colours’ allowed for a breather, albeit one with a nightfall intensity before the dial was set back again to dance mode.
Effectively their first single, the throbbing synthpop of ‘Ways To Dance’ was a reminder of how far the duo have evolved since their beginnings in 2008, before the bouncy whistling poptronica of the 2010 fan favourite ‘Jonny Boy’ played around with some Scandinavian folk traditions.
‘Dance Again’ was a wonderful spiralling hands in the air moment before KITE closed the evening in magnificent dramatic style with ‘Nocturne’; a mysteriously captivating ballad, it progressively rotated itself into a spacey widescreen continuum, thanks to Stenemo’s electronically treated vocals and Berg’s mighty percussive soundscapes.
One of the things about KITE and their releases to date is that being confined to EPs only, they don’t outstay their welcome and present the highest quality material possible. And that was the case with their impressive live show, with Stenemo and Berg departing the stage after an hour to the roars of a rapturous audience wanting more but appreciative of what they saw.
KITE are probably the best modern electronic pop act in Europe at the moment, possibly the world. With this confident return to the public arena after a short hiatus, their secret garden should be not so secret anymore…
LIZETTE LIZETTE is Lizette Nordahl, a gender neutral Swedish / Peruvian producer and performance artist whose first mini-album ‘Queerbody’ was released in January 2017.
Its co-producers were Nicklas Stenemo and Christian Berg, better known as KITE. Having started out in a more rave inclined environment, ‘Queerbody’ signalled LIZETTE LIZETTE’s entry into more synthy climes.
Like KITE, ‘Non’ follows the extended EP or mini-album format and features writing contributions from Stenemo and Berg, although the production is by Gabriel Wagnberg.
Opening with the euphoric house pop of ‘Junk’, the track is rich with vogue-friendly beats, hooks and melody. Dreamily laid around pizzicato and some spacey overtones, ‘Obey’ is like a synthetic bubble bath. It’s something which ‘Void’ also takes its lead from, but with the addition of some slightly weirder noises.
The beautifully sad Nordic synth ballad ‘Computer Game’ in tribute to a departed friend is a fine showcase to Nordahl’s emotive side, something that was not obviously apparent in previous LIZETTE LIZETTE recordings. Meanwhile, the punchy technopop of the ‘Non’ title song compliments Nordahl’s more typically assertive stance, a robust danceable jewel that is an “anthem for all non-binary worldwide”, proclaiming “You wanna call me a girl, you wanna call me a woman… I am NON.”
Accompanied by a selection of detuned metallics, ‘Moonland’ declares a return home where “brothers and sisters are waiting”, while ‘Soil’ earthily penetrates with vocally derived textures and hypnotic arpeggios for a tune which with Nordahl’s richly delivered tones, ROBYN wouldn’t have been unhappy with.
Ending with a dramatic widescreen waltz, ‘Beaches’ is glorious Scandipop, layered in multiple vocals, that comes over suitably nautical. A fine follow-up to ‘Queerbody’, ‘Non’ adds new colours and vibes to the expanding LIZETTE LIZETTE template.
It was a year when the veterans re-established their standing within electronic pop.
That was not to that comparatively newer acts weren’t making a good impression, it was just that a fair number of established acts gave their all and were producing some of their best work since their imperial heyday.
Great tracks by SPARKS, OUTERNATIONALE, SPACEPRODIGI, iEUROPEAN, PARALLELS, FEVER RAY, SOL FLARE, SOFTWAVE, KNIGHT$, 2RAUMWHONUNG, JORI HULKKONEN, FIFI RONG and KITE BASE made it onto the shortlist, but despite their quality, they did not make the final listing.
Also not included are songs from ‘Welcome To The Dancefloor’, the debut album from Rusty Egan; although gaining a physical release this year, it was reviewed by ELECTRICITYCLUB.CO.UK in the Autumn of last year when download versions of the long player were distributed to those who had purchased it in advance via Pledge Music. Meanwhile, its closing track ‘Thank You’ was included in our 30 Songs Of 2016.
So restricted to purchasable releases only and one song per artist moniker, here are ELECTRICITYCLUB.CO.UK’s 30 Songs Of 2017 in alphabetical order…
AESTHETIC PERFECTION Rhythm + Control – Electro Mix
Additionally featuring NYXX and WILLIAM CONTROL on vocals, ‘Rhythm + Control’ saw Daniel Graves take AESTHETIC PERFECTION’s industrial pop to the next level via his new singles only policy. The magnificent Electro Mix successfully realised this oddball blend of Darren Hayes, Britney Spears and Marilyn Manson. With a mightily elastic bassline, when asked whether The Electricity Club had gone crazy coming up with the comparison, Daniel Graves replied “God no. Spot on, guys!”
From only the third solo album in the long career of Richard Barbieri, ‘Solar Sea’ was a sleazy rhythmic excursion into another world. With the one-time JAPAN sound designer using a Roland System 700 for its bassline, the track’s atonal jazz feel was augmented by the haunting voice manipulations of Lisen Rylander Löve through a vintage Soviet submarine microphone and warping noises offset by soothing brass inflections and live drums.
The American electronic rock quartet BATTLE TAPES continued to develop from their 2015 debut album ‘Polygon’ via their ‘Form’ EP. The best track ‘Control’ hinged around a syncopated filtered synth bass and a brilliantly catchy chorus sung by Josh Boardman, with enough guitars for power and texture without distracting from the overall electronic aesthetic, and even coming over like a heavier Stateside version of SIN COS TAN.
“International in flavour, cosmopolitan in style” and sounding like a long lunch followed by a round of cocktails, Australian duo CLIENT LIAISON roped in one-time TV talent show star Tina Arena to duet on a lush slice of romantic pop that also rode on the current fashion for Synthwave. ‘A Foreign Affair’ could have easily been a Rat Pack movie song.
Johan Baeckström made positive waves with his debut solo album ‘Like Before’ in 2015 but reunited with his musical partner Jarmo Ollila, producing an excellent third album with more tempo variation than their 2014 offering ‘Two’. Featuring the guest vocals of Mac Austin from cult synth trio WHITE DOOR who were one of the inspirations for DAILY PLANET, ‘Heaven Opened’ was an uncomplicated but wonderfully poignant slice of classic synthpop.
ELECTRONIC CIRCUS is the musical vehicle of Chris Payne, the one-time Numan band member who also co-wrote ‘Fade To Grey’. With a symphonic theme bursting with melody and musicality like ULTRAVOX galloping across the plains of Normandy, the brilliant neo-instrumental ’The Trapeze’ was given a wondrous tone of humanistic unity when Payne’s wife and daughter joined in on the final straight in Latin.
FADER are the synth superduo featuring BLANCMANGE’s Neil Arthur and Benge; ‘3D Carpets’ captured an independent post-punk intensity, like JOY DIVISION or THE CURE but realised with analogue electronics rather than guitars. While the pair worked on their parts separately, their creative dynamic produced a great debut album in ‘First Light’.
Available on the ‘First Light’ via Blanc Check Records
From the Welsh synth songstress’ first EP, the fabulous ‘Geiriau’ was a driving sequential drama that had more than a passing resemblance to the first part of SPARKS’ ‘No1 Song In Heaven’. Revolving around ANI GLASS’ experience of flying the nest and returning years later to reconnect with her Welsh and Cornish heritage, it was a spacey and futuristic soundtrack for a wonderfully uplifting homecoming.
‘Volupsa’, the promising Nordic flavoured debut album from THE GOLDEN FILTER came out in 2010, but the Aussie American duo of vocalist Penelope Trappes and synth programmer Stephen Hindman took their time with the follow-up ‘Still//Alone’, having relocated to London after spending several years based in New York. The hypnotic pulse of ‘Rivers’ with its precise drum machine pointed to a female fronted OMD, complete with a catchy riff and synthy jabbing bassline.
The immensely catchy ‘Systemagic’ was a prize electronic gem from the seventh GOLDFRAPP album ‘Silver Eye’, reminiscent of the lusty and beat laden electronic material from ‘Black Cherry’. But its riff asked the question as to whether you will always find Alison Goldfrapp in the kitchen at parties? In the event of Jona Lewie filing a lawsuit, the lucrative income from the song’s use in a BMW advert may ease any potential net payout.
Available on the album ‘Silver Eye’ via Mute Artists
After three acclaimed albums as IAMAMIWHOAMI with producer Claes Björklund, Jonna Lee went solo in 2017 although it was actually difficult to hear the join on the glorious ‘Not Human’, so seamless was the transition; there were still the icy electronic soundscapes, spacey dance beats and uplifting Scandipop vocals while the delightfully odd visuals were all present and correct.
Available on the download single ‘Not Human’ via To Whom It May Concern
I SPEAK MACHINE is the audio / visual collaboration between musician Tara Busch and filmmaker Maf Lewis. Soundtracking their film ‘Zombies 1985’, the story was one of greed and self-obsession in Thatcher’s Britain as a businessman drives home, oblivious to the zombie apocalypse going on around him. Co-written and co-produced with Benge, the brilliant ‘Shame’ with its cascading synths and noise percussion was a wonderful hybrid of THROBBING GRISTLE, THE HUMAN LEAGUE and GOLDFRAPP.
After a number of years gigging around London, KATJA VON KASSEL finally unleashed released her electro Weimer Cabaret to the world. The pulsating ‘In Little Rooms (Show Me Love)’ captured an aesthetic which closely resembled that of RONNY, a former protégé of Rusty Egan. Attached to Alex Gray’s intricate filmic electronics, Fraulein von Kassel’s deep vocal detachment was art cool sexy.
Swedish duo KITE unleashed their darkest offering yet in ‘Demons & Shame’. Shaped by a ritualistic drum mantra and brooding bass drones, as the title suggested, the song confronted the despair that life occasionally throws up while pursuing visions and dreams. If Ennio Morricone composed music for Nordic Noir dramas, it would sound a bit like this. Vocalist Nicklas Stenemo literally screamed his frustration over an epic synthetic soundscape from Christian Berg, laced with nocturnal Arctic overtones and the spectre of THE KNIFE.
Available on the single ‘Demons & Shame’ is released by Progress Productions
James Murphy returned as LCD SOUNDSYSTEM after seven years with this widescreen musical statement reflecting on the political situation in the US. Glancing across the Atlantic and back to the Winter Of Discontent, this 3/4 synth laden tune that had more than a passing resemblance to THE HUMAN LEAGUE’s ‘Circus Of Death’. So did “The Clown” referred to in that song remind Murphy of someone in particular?
Having started out in a more rave inclined environment, Lizette Nordahl ventured into more synthy climes and her debut mini-album had the air of KITE is all over it, which was not entirely surprising as its co-producers were Nicklas Stenemo and Christian Berg from the acclaimed duo. ‘Rest’ with its swirling synth sounds and widescreen Nordic atmosphere had an optimistic air of acceptance despite the melancholic tone and majestic growls.
Led by British born musician Dylan Willoughby, LOST IN STARS is a floating ensemble which also includes Elena Charbila aka KID MOXIE and producer/songwriter Darren Burgos. The latter takes the lead vocal on the spirited electronic pop of ‘Sky’; now if NEW ORDER were from Los Angeles instead of Manchester, they would have sounded like this.
After releasing her first solo album ‘Crystal World’ in 2013, Helen Marnie added more prominent choruses and guitar onto her second, resulting in a catchy Scandipop style. ‘Bloom’ was an optimistic burst of synth laden pleasure and while not totally dissimilar to LADYTRON, it was without their usual hardness or gothic gloom.
Having worked successfully in 2013 with Guy Sigsworth on ‘the minutes’, an acclaimed album which saw ALISON MOYET return to the synthesized music forms to compliment her powerful and self-assured voice, the follow-up ‘Other’ was a natural progression. The startling orchestrated electro-dub drama of ‘Alive’ gave Moyet’s two former classmates in DEPECHE MODE a stark lesson in how to actually fully realise electronic blues. Indeed, it was ‘In Chains’, the lame opener from ‘Sounds Of The Universe’ gone right…
With the narrative of ‘Savage’ provoked by Donald Trump’s withdrawal of the United States of America from the Paris Climate Accord, the mighty apocalyptic rock of ‘When The World Comes Apart’ was something of a revelation for GARY NUMAN. Using synths as the dominant instrument and having guitars less obviously prominent in the mix, with its richly anthemic chorus, this was the magnificent crossover song that both old and new Numanoids had been waiting for.
MICHAEL OAKLEY is a talented Glaswegian who describes his music as “Melancholic postcards from my heart wrapped up in synthesisers and drum machines”. The melodic ‘Rabbit In The Headlights’ came complete with Italo “woah-oh” chants and whether it was Synthwave, synthpop, electropop, Italo or whatever, it showcased Oakley’s fine songwriting abilities, regardless of genre.
The excellent ‘One More Time’ was a classic bittersweet OMD stomper, where “everything you gave me didn’t last”. Using electronic percussion as opposed to drum machines, the enticing verse and uplifting bridge were set to a plethora of gorgeous textures and distorted synth to add a touch of enigmatic weirdness. While Andy McCluskey cried “you can break my heart just one more time”, the track’s star was Paul Humphreys with his crystalline synth sounds laced with some portamento bounce.
As well as keyboards and violin, HANNAH PEEL can also play the trombone. Featuring an array of analogue synthesizers and a 29-piece colliery brass band, ‘Mary Casio: Journey to Cassiopeia’ was her instrumental story about a fictional elderly musical stargazer. Beginning with the lift-off of ‘Goodbye Earth’, Miss Peel’s electronic arpeggios and synthetic noise built up to a crescendo of brass and timpani for a quite unusual combination of two very different musical worlds.
Available on the album ‘Mary Casio: Journey to Cassiopeia’ via My Own Pleasure
From the ashes of ANALOG ANGEL came forth RAINLAND. Their self-titled calling card was a vibrant synthpop statement, embroiled in a musicality that provided a journey through the Grampian Mountains. Ian Ferguson had already proved himself a worthy vocalist in his previous combo with dulcet tones not dissimilar to a certain Midge Ure and this was allowed to reign free on ‘Rainland’. Meanwhile, the ivories of Derek MacDonald stylistically aped the symphonic overtones of ULTRAVOX’s Billy Currie.
Between 1980 to 1984, RHEINGOLD were at the forefront of Die Neue Deutsche Welle, releasing three albums and achieving their first domestic hit ‘3klangsdimensionen’ in 1981. Led by Bodo Staiger, ‘Im Lauf Der Zeit’ was their first album of new material for many years. The melodic synth of ‘Paradieshafen’ drove along a beautiful instrumental that came over like a dream collaboration between OMD and Michael Rother.
Available on the album ‘Im Lauf Der Zeit’ via Lucky Bob Records / Soulfood
With hypnotising hints of Kate Bush and percolating Ryuichi Sakamoto style textures, ‘Who Am I’ by electropop goddess SARAH P. was an ode to “humanity, the world we live in and our importance (or unimportance) as individuals and/or as a whole”. And as the Greek-born songstress announced that “I don’t know where I come from… do you know my name?”, a metronomic beat kicked in to lead a dramatic house-laden climax.
Available on the album ‘Who Am I’ via EraseRestart Records
The normally flamboyant Welsh duo SHELTER surprised all with their darkest and most accomplished song yet in ‘Karma’. “What you want is what you’ll get…” sang Mark Bebb, “…you will get a lot more that you planned”. A vibrant but edgy production from Rob Bradley complimented the sentiment as the message was relayed loud and clear…
Available on the single ‘Karma’ via Ministry Of Pop
From ‘From Deewee’, the first new SOULWAX album since 2004’s ‘Any Minute Now’, ‘Conditions Of A Shared Belief’ was a modular synth lover’s wet dream from the Dewaele brothers. With a retro-futuristic collage of detuned blippy sounds and a backbone of smashing white noise percussion recalling THE HUMAN LEAGUE in their Martyn Ware and Ian Craig Marsh phase, it was complimented by some suitably abstractly pitched TALKING HEADS inspired vocals.
TINY MAGNETIC PETS had their best year yet with a UK tour opening for OMD and to accompany it was their second album ‘Deluxe/Debris’. Featuring Wolfgang Flür, the album’s best song ‘Never Alone’ sounded appropriately like SAINT ETIENNE fronting KRAFTWERK. Paula Gilmer has one of the best voices in modern synthpop and her alluring tone no doubt added to the song’s breezy dreamlike state.
Available on the album ‘Deluxe/Debris’ via Happy Robots Records
The adventurous third VANBOT album ‘Siberia’ was composed and recorded during a 17 day journey on the Trans-Siberian railway. The crystalline ‘Collide (Krasnoyarsk)’ though captured a more Nordic vibe with its gorgeous melodies, while the surrounding rhythmic pace of a train ride made its presence felt. An aural exploration of the relationship between time, location and emotion, ‘Siberia’ was a bold musical experiment.
LIZETTE LIZETTE is Lizette Nordahl, a gender neutral Swedish / Peruvian producer and performance artist whose first mini-album ‘Queerbody’ was released in January 2017.
Having started out in a more rave inclined environment and even issuing an EP entitled ‘Raveland’ in 2012, LIZETTE LIZETTE has now ventured into more synthy climes.
The concept of ‘Queerbody’ is a rallying cry against the “conservative and male-dominated” synth scene in Sweden which has showed signs of stagnation in the last 18 months. Strong messages are always best delivered with a tune and the mini-album has the air of KITE is all over it, which is not entirely surprising as its co-producers are Nicklas Stenemo and Christian Berg from the acclaimed duo. One of the highlights from ‘Queerbody’ is the epic ‘Rest’.
Duetting with Stenemo, ‘Rest’ is a wonderfully refined pop statement from LIZETTE LIZETTE, with swirling synth sounds and the widescreen Nordic atmosphere which makes electronic music from the region so appealing. It actually has an optimistic mood of acceptance despite the melancholic tone, with Senemo’s majestic growl complimenting Nordahl’s assertive snarl marvellously.
Meanwhile, the powerhouse of ‘Future’ originated from a track that Christian Berg hadn’t used for KITE and recalls the pulsating tension of ‘I Can’t Stand’ from their ‘V’ EP. The equally dynamic ‘Slow’ also emerges cut from a similar satisfying cloth. But the thrills don’t end there!
Full of feisty energy, ‘Freak’ is a tremendous declaration of frustration as LIZETTE LIZETTE announces “I know that I am strange…” – to illustrate the song, Nordahl has conceived a video directed by Emerson Berglund based around a Jerry Springer talk-show format with local comedian Johan Wahlström playing the host.
Throughout ‘Queerbody’, the lyrics exude bitterness and betrayal with the opening song ‘Easy Street’ specifically attacking those perceived to have had a privileged ride in life… ELECTRICITYCLUB.CO.UK can connect with this one in relation to the clueless posh boys who proliferate the world of music journalism. Then there’s the electronic drama of ‘Scapegoat’ which comes from a similar kind of mindset while the more haunting, reflective tone of ‘All You Stole’ rounds off an impressive mini-album.
A fan of NIRVANA and HOLE before discovering the charms of VISAGE, SOFT CELL and DEPECHE MODE, the varied influences of LIZETTE LIZETTE on ‘Queerbody’ blueprint an exciting forthright direction to take electronic pop in the future. REIN indeed now has a rival…
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‘Dance With You’
signalled LIZETTE LIZETTE’s entry into more synthy climes.
follows the extended EP or mini-album format and features writing contributions from Stenemo and Berg, although the production is by Gabriel Wagnberg.
via 
via by Kscope
via 
via Remote Control Records
via Progress Productions
via Blanc Check Records
via Optimo
via Mute Artists
via To Whom It May Concern
via Lex Records
is released by Progress Productions
via DFA Records
via 
via Disco Piñata
via Cooking Vinyl
via BMG
The excellent ‘One More Time’ was a classic bittersweet 
via 100% Records
via Lucky Bob Records / Soulfood
via EraseRestart Records
via Ministry Of Pop
via PIAS
via Happy Robots Records
via Lisch Recordings
is a rallying cry against the “conservative and male-dominated” synth scene in Sweden which has showed signs of stagnation in the last 18 months. Strong messages are always best delivered with a tune and the mini-album has the air of KITE is all over it, which is not entirely surprising as its co-producers are 
EP. The equally dynamic ‘Slow’ also emerges cut from a similar satisfying cloth. But the thrills don’t end there!
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