For KNIGHT$, his first London gig in nearly 3 years was a sort of homecoming.
The Britalo vehicle of James Knights, although now based near the South Coast of England, the capital was where he had spent his formative musical years in the more indie pop SCARLET SOHO.
Taking on a more optimistic and direct electro approach, KNIGHT$ began in 2016 and steadily gained a cult following in Sweden and Germany.
The worldwide pandemic affected all artists but for KNIGHT$ whose favourable reputation was gained from engaging live performances, this was especially difficult. He went down the home live stream route with varying degrees of success although it was not the same.
Come 2022 and things kicked back into action with a European tour supporting TRANS-X while a prestigious opening slot at Infest got things going again back home. KNIGHT$ appearance at The Hope & Anchor was his first London appearance since Halloween 2019; the venue is best known for hosting JOY DIVISION in December 1978, although only three people turned up! Despite a national train strike, KNIGHT$ had a very good turn out from those looking to forget the high energy crisis for a few hours.
Opening the evening just as he had done on Halloween 2019 was Theo Sayers. Little did he know at the time that his then-forthcoming single ‘My Nose Is A Little Runny’ would have such poignant resonance with lyrical quips like “sleazes cause diseases”.
The resulting video ended up being a scene or two short, something which the Cambridge lad dwelled on after his performance of the quirky but appealing SLEAFORD MODS-styled track.
Accompanied by KNIGHT$ family member Jasmine Jasmine on vocals, Sayers presented his playful humourous songs in a matter-of-fact manner like a blokey Kate Nash. New numbers such as ‘Ramen For Two’ and his streetwise cover of Prince’s ‘When Doves Cry’ outlined his brand of scampy English hip-hop; he releases his first full-length album also called ‘Ramen For Two’ in 2023.
Opening with ‘What We Leave Behind’, James Knights got quickly into his stride aided by a bottle of Benylin®. With some distance since the release of his debut album ‘Dollars & Cents’ in Spring 2019, what stood out tonight was how well his songs have lasted the distance, something that is not always the case with much of today’s independent British synthpop.
Produced by Italo disco legends Fred Ventura and Paolo Gozzetti in their ITALOCONNECTION guise as well as remixed by the notable Italo DJ Flemming Dalum, the wonderful ‘Gelato’ was given a sensual live boost by regular keys player Nina Casey on backing vocals. Her presence also allowed for the first live performance of the BOYTRONIC duet ‘Proving A Point’ with the diminutive German providing her own stamp on the feisty Holger Wobker part.
James Knights has been very open about the influence of BRONSKI BEAT on his sound and ‘Hijack My Heart’ was a fine example of him aping the Jimmy Somerville-led version of the band. But he paid tribute directly to the Mark 2 version of BRONSKI BEAT fronted by John Jøn Foster with a cover of the frantic ‘Hit That Perfect Beat’, aided by Julz J of CAPITAL X on guest saxophone.
‘What’s Your Poison?’ was a reminder of how it all started for KNIGHT$ while another ITALOCONNECTION produced track, the ‘Dollars & Cents’ title song doffed its shades to the disco-menergy of the late Patrick Cowley.
But it was time to celebrate the most recent KNIGHT$ single ‘Boom Bang Boom’ and while ‘Two Steps from Heartache’ was a look back to his SCARLET SOHO days, ‘Alligator’ prompted “Snap! Snap!” actions from the audience as it amusingly satirised the perils of modern dating.
A fine return to the London stage that entertained all present including an unsuspecting Arsenal fan who was curious as to the goings-on in the clearly marked “HOME FANS ONLY” venue, James Knights said afterwards: “Well, what can I say. The energy in the room was electric. So good to connect with the audience again and play some of the rarer songs we’ve not played live before. You couldn’t hand pick a better fanbase than the KNIGHT$ one! I’m currently working on a new EP / vinyl release for 2023, and I’m sure there will be more live shows to mark that. We also have the 40th anniversary gigs of BOYTRONIC’s ‘Working Model’ album to look forward to as well… It’s good to be back.”
KNIGHT$ is proof that pop is not a four letter word…
KNIGHT$ is back with a new Britalo anthem and it comes with a ‘Boom Bang Boom!’
Written in lockdown and with his plans for live work put on hold, by his own admission, ‘Boom Bang Boom!’ was a song he could hold back any longer. With thunderous electronic drums, brassy synth, and a big chorus, it’s a number that does as the title suggests as a much needed blast of optimism.
As an extra treat to the lemon-coloured release bundle, prolific German producer Mirko Hirsch extends the title cut, while Italo disco legend Alexander Robotnick presents his treatment of the KNIGHT$ live favourite ‘Alligator’.
The video for ‘Boom Bang Boom!’ is a fun take on ‘Avenue Q’, the hilarious ‘Sesame Street’ inspired comedy show which featured the song ‘The Internet Is For Porn’ and sees our hero handling his shaded puppet alter-ego Little Jimmy.
James Knights chatted to ELECTRICITYCLUB.CO.UK about keeping himself artistically motivated in these difficult times for all…
How did ‘Boom Bang Boom!’ come about? How challenging has it been creatively this past year?
I finished the track last summer, and it just came through on a day when I was more focused than usual with a clear idea of what I wanted to hear. I didn’t know a lot about it actually, just divine intervention smacking me round the chops!
How did you choose the release bundle’s remixes?
I’ve been an admirer of Mirko Hirsch’s stuff since I first heard his music on Will Reid’s ‘Club 80s’ show. I love his attention to detail and how his mixes ooze the best kind of romantic nostalgia. I wanted to try something with him for a long time, but we were always too busy with other projects! It’s great to finally be able to collaborate.
I worked with Also Playable Mono and Ant People on my ‘Dollars & Cents’ remix album last year, so it’s great to be back with them too. They both have a slightly more modern feel but bring something equally as dancefloor worthy to the mix.
And finally I was able to add Alexander Robotnick. I was DJing his songs about 15 years ago at parties in my hometown and he always brought the house down! It’s funny, but this remix of ‘Alligator’ narrowly missed being on my remix album, in fact, it’s 2 years old, but it was well worth the wait to press it to vinyl and complete the package. It’s such a great Italo house mix, exactly what I’d hoped for.
You’ve always had a good connection with your fan base and completed the video of ‘Boom Bang Boom!’ with one of them, are you happy with the result?
Absolutely! I had this initial idea which involved a lot of cutting, sticking and gluing to get it off the ground. Now I have a black belt in arts and crafts! You’ll see when we release it, but the concept is unique. With the help of a friend I managed to hand over my edit, and he added the necessary finishing touches. Just wait til you meet Little Jimmy…
You did some online streamed gigs, what were the challenges of the various platforms available to do this, the pros and cons? Will you do it again?
We did Easter and Christmas shows online last year – the first one went out via Facebook, and the second was more of a request show where we sent the videos to the fans. I liked the latter of the two as it was more personal and exclusive, but yeah… this is the longest break from live shows I’ve ever had. I miss seeing everybody!
What are you plans and hopes for the future, if you are able to make any? Have your priorities altered at all?
I’m busy putting together a new EP for release later in the year, which will hopefully be released alongside playing some live shows! Since the ‘Dollars & Cents’ album came out I’ve been invited to sing on several new productions with up and coming artists. I’ve loved doing that, and having the freedom of singing on another person’s track has been an eye opener. There will also be a new BOYTRONIC record in 2022. We’re working on that slowly because we can’t get together so easily with Holger in Berlin, but what we have so far sounds promising! No matter what’s happening, my plans are always to keep making music.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to James Knights
Ever since the Canadian budget household gadget firm K-Tel diversified into the territory of compilation albums with ‘25 Country Hits’ in 1966, various artists compendiums have been a major part of the music industry fabric.
In particular, curated various artists albums based on a theme, be they around a record label roster, sub-genre or lifestyle experience, such as ‘Methods Of Dance’, ‘Modern Dance’, ‘Some Bizarre Album’, ‘Retro:Active’, ‘This Is Not The 80s’ or ‘Electri_City’ have been enthusiastically received with the opportunity to discover new artists or obtain rare material.
‘Trans-Global Excess Volume 1’ is the first compilation by Specchio Uomo, the independent label run by James Knights of SCARLET SOHO and KNIGHT$ fame specialising in Italo, nu disco and synthpop. He said “It’s a celebration of the independent spirit and the free movement that brought us all together in the first place” containing “music by friends we’ve met on the road and at shows over the years”.
Any good compilation has several star names to draw a potential audience in, but also features a wealth of quality material largely unknown to a wider audience and this one importantly manages to have both.
It begins in an energetic fashion with ‘You Can’t Get Fooled By Love’ by the rebooted BOYTRONIC featuring original frontman Holger Wobker and James Knights himself, the ANT PEOPLE remix providing some tribal enhancement on its bed of sparkly arpeggio-laden Europop. Presented as a Dark Italo mix courtesy of Jens Plöger of RUN:, the German producer takes PYSCHE’s 1987 single ‘Uncivilized’ into territory which isn’t actually that far off BOYTRONIC.
Meanwhile ITALOCONNECTION’s ‘Now Or Never’ is naturally a more modern twist on the classic Italo form by Fred Ventura, but it really does party likes it is 1987! A comparatively new name but with experienced intuition behind it, ‘Discoboom’ is by SNS SENSATION, the solo vehicle of Sebastian Muravchik of HEARTBREAK; his throbbing Moroder-esque attack, laced with some unexpected heavy metal guitar, could easily be mistaken for his duo with Ali Renault.
‘Soldiers Of Love’ by ITALOVE will conjure sunny nostalgia with visions of perms and mullets despite being a demo from 2012, while ‘If There Was No Gravity’ by THE HOOLIGAN takes the collection into jazz flavoured citypop territory and Vienna’s BROKEN EGO provides some whimsical electropop with ‘When The Lights Go Out’.
Another interesting inclusion is the moody electro of LAKESIDE X with ‘Wonder’ which first appeared in 2012 when the Czech combo performed as part of a RECOIL event when Alan Wilder visited Prague for a showing of his concert film ‘A Strange Hour In Budapest’.
But the highlights on ‘Trans-Global Excess Volume 1’ come from three unknown acts. Best of all is the crashing beats and attitude of PLASMASCHWARZ with ‘Mein Kopf’. Cut from a not dissimilar cloth, ‘Stingray’ by CAPITAL X is a bit feistier, but Düsseldorf husband and wife duo MÄNGELEXEMPLAR offer some wonderfully cool Teutonic detachment.
‘Trans-Global Excess Volume 1’ is a diverse collection; the galloping rock of BROKEN LINKS and the spiky snarl of CONTINENTAL LIAISON might confuse KNIGHT$ fans, but they will be far happier with a slice of girly popwave entitled ‘Drifting’ from Roxi Drive which contains the now almost obligatory sax solo and the future disco of KOMPUTER KID’s ‘Summer Again’.
The most poignant track on ‘Trans-Global Excess Volume 1’ comes with the previously unreleased ‘So Agitated’, a chiptune-inspired number by TRADEMARK, a trio comprising Oliver Horton, Stuart Meads and Paul Soulsby who opened for THE HUMAN LEAGUE in 2004. Stuart Meads sadly passed away in 2013 and although there was a final self-titled album in 2014, the inclusion as a fitting tribute.
Featuring 17 eclectic tracks, ‘Trans-Global Excess Volume 1’ has something for most electronic pop fans and in PLASMASCHWARZ, MÄNGELEXEMPLAR and CAPITAL X, it showcases some promising talent for the future. If you are a fan of KNIGHT$, SCARLET SOHO, BOYTRONIC, ITALOCONNECTION or HEARTBREAK, then there is a good chance that you will like a fair portion of this.
Although SCARLET SOHO went into hiatus after the release of their third album ‘In Cold Blood’ in 2015, interest in them has been rejuvenated thanks to the success of front man James Knights and his Britalo focussed exploits with his solo vehicle KNIGHT$.
Two tracks on ‘In Cold Blood’, ‘Two Steps From Heartache’ and ‘Gigolo’ were effectively blueprints for KNIGHT$ and are usually mainstays of his live set. But although SCARLET SOHO began with a more post-punk sound dominated by guitars, there was always a pop element throughout their career despite the darkness and that is evident on their new updated retrospective compilation ‘Programmed To Perfection – Best Of & Rarities’.
At the start of the 21st Century, electronic pop was making something of a resurgence with the likes of LADYTRON, GOLDFRAPP and THE KNIFE proving that “synthesizer” was not a dirty word. Alongside them were bands such as THE FAINT, THE KILLERS and THE BRAVERY who all had synths as a rogue element within their conventional instrumentation. There were also emergent acts such as IAMX, THE MODERN, PROTOCOL, DELAYS and BOY KILLS BOY, and it is perhaps in this group that SCARLET SOHO slotted in.
Comprising the nucleus of James Knights and Amy Brown aka Scarlet with Lee Kinrade on guitar and augmented by a drum machine, SCARLET SOHO’s debut release was the ‘Ruthless Animation’ EP in 2001. This led to support slots for THE FAINT and DELAYS, attracting the attention of the latter’s producer Justin Callaway to record their debut album ‘Divisions Of Decency’ issued in 2004 by Human Recordings. The excellent trio of ‘Skin Trade’, ‘Disconnected’ and ‘Modern Radio’ from ‘Divisions Of Decency’ were slabs of fuzzy machine rock in the vein of THE FAINT.
Meanwhile taking a slight diversion, ‘Programmed To Perfection’ came over like Alvin Stardust fronting SWEET produced by THE RAH BAND!
With Stuart Key replacing Nick Haynes who joined the SCARLET SOHO after the departure of Lee Kinrade, it would be 2009 before ‘Divisions Of Decency’ was followed up by ‘Warpaint’, released by Major Records, the German label who had issued albums by IAMX and LADYTRON.
Included on this collection, the galloping disco sequences and gritty determination of ‘I Dare’ signalled a significant progression towards the dancefloor and this was further affirmed by ‘Analogue Dialogue (Kill The Beat)’ which imagined Giorgio Moroder going indie and collaborating with THE KILLERS.
Reflecting some of their contemporaries, ‘Speak Your Mind’ was a rousing slice of synth indie in the vein of THE BRAVERY with a magnificent whirring keys solo, while ‘Is Growing Up The Best That We Can Do?’ was almost a Numan-esque take on PROTOCOL. But it is ‘Lights Out London’ which stands out from ‘Warpaint’ with a frantic electro-goth vibe up there with IAMX who SCARLET SOHO were to tour with extensively in Europe.
Released in 2015, ‘In Cold Blood’ was the third and so far final album by SCARLET SOHO. Despite the six year gap between long players, much of what became ‘In Cold Blood’ had been released in advance on the EPs ‘When The Lights Go Out’, ‘Solo KO’ and ‘Two Steps From Heartache’.
The self-produced and self-released ‘In Cold Blood’ looked set to be SCARLET SOHO’s breakthrough as it heralded a greater interest in electronic pop with fewer guitars in evidence. Much more immediate than any of their previous work, although the material appeared to be less angsty and fraught, it was still a gloomy album lyrically.
‘When The Lights Go Out’ demonstrated more of a disco sound while ‘What You Need’ even flirted with synthwave as showcased on the ‘Drive’ soundtrack by KAVINSKY and COLLEGE. However, the sombre ‘Solo KO’ showed that SCARLET SOHO had not totally vacated their dark aesthetic, but leaving a lyrical signal of what was to come.
Indeed the bridge to KNIGHT$ came with ‘Gigolo’, a song on ‘In Cold Blood’ that was so wonderfully poppy, Knights and Scarlet had initially felt it was not suitable for SCARLET SOHO and the glorious house-laden ‘Two Steps From Heartache’ which appears on the double set as a vocoder-assisted James Yuill remix with a more tightly incessant rhythmic base.
Any good retrospective set features rarities or unreleased songs and ‘Programmed To Perfection’ satisfies both requirements. Among the best of the bunch is ‘Into The Night’ in collaboration with Loic Rathscheck; recorded for the 2011 German film ‘Bauernfrühstück’; it features the “Classic meets Pop” singer Isgaard replicating the soprano from Ennio Morricone’s ‘Ecstasy Of Gold’ to strangely compliment the track’s intense electronic backdrop. The moody ‘Children Of The Sun’ with its European grandeur was written in the same sessions but didn’t get used, so is a welcome inclusion for SCARLET SOHO and KNIGHT$ completists alike.
Of the other rarities, there are remixes by !DISTAIN, TOKYOTRON and CANDIDE amongst others but the tracks that will attract most interest are the B-sides and previously unreleased demos.
‘Daylight’ is an electronic indie rock hybrid with a snarl that is very much of its time while ‘Pseudo Sushi’ is very guitar-driven, but ‘Useless Information’ will be a shock to some as it is almost heavy metal!
Then there is ‘Professionals’ from the ‘Two Steps From Heartache’ EP which was something of a dubstep experiment while off the ‘When The Lights Go Out’ EP, ‘Retail Therapy’ was an electro new wave hybrid that was more typically SCARLET SOHO.
‘Programmed To Perfection’ acts as a fine introduction to SCARLET SOHO, gathering them at their most accessible. For anyone who appreciates the shades donning solo persona of James Knights as KNIGHT$, it documents an interesting and significant part of the artistic journey that led to ‘Dollars & Cents’, one of the best albums of 2019.
There is nothing like the other side of life. As a companion to its favourite 25 Classic Synth B-sides, ELECTRICITYCLUB.CO.UK presents a listing looking at the 21st Century equivalent.
B-sides often take on a cult following, provoking discussions among fans about why they might have missed inclusion on the parent album. On why artists occasionally overlook a track when it is clearly good enough, Richard Silverthorn of MESH said “Sometimes you can’t see the wood for the trees”. Then there are the occasional abstract studio experiments which often fail but occasionally work and the occasional cover versions which don’t always find favour with some listeners but are infinitely more preferable over pointless remixes of the A-side!
But how is a modern B-side been defined? There is a wider definition now due to digital and streaming formats, so they can include flipsides of vinyl, bonus tracks on CD singles and non-album tracks released as part of a download single or EP bundle. Despite all this, the term “B-side”, like “album” and “video”, still remains.
So for the purposes of this listing as before with the 25 Classic Synth B-sides, B-sides featured on the original issue of a full length album, or subsequently included on a new one are NOT included. However, those added as bonus tracks on later reissues, deluxe editions or compilations are permitted. Rules are good, rules help control the fun! ?
So with a restriction of one track per artist moniker, presented in date and then alphabetical order within, these are ELECTRICITYCLUB.CO.UK’s 25 Synth B-Sides Of The 21st Century…
LADYTRON Oops Oh My (2003)
LADYTRON surprised their audiences during live shows in support of the ‘Light & Magic’ album by closing with a feisty synthpunk cover of TWEET’s ‘Oops Oh My’. Co-written by Missy Elliot, the Timbaland produced original with a DEVO sample had been a hip-hop favourite but the aggressive Riot Grrrl styled take on this risqué song about self-love with lyrics like “There goes my skirt, droppin at my feet” added a rockier edge to their sound.
Available on the LADYTRON single ‘Evil’ via Telstar Records
“This was written in response to the Iraq War” said Sarah Blackwood aka Client B, “I remember endless discussions with Toast Hawaii boss Fletch about whether it was the right decision and with heavy hearts, watching endless shelling and firefighting, from the 24 hour news coverage on far flung European hotel TVs. It was the first time I had felt that disconnection and frustration with my home country, the ‘not in my name’ ringing loudly in my ears. Bit late to the party but that’s the story of my life.”
Available on the CLIENT single ‘Here & Now’ via Toast Hawaii / Mute Records
The eloquence and surreal atmospheres of the first GOLDFRAPP album ‘Felt Mountain’ may have taken a back seat on ‘Black Cherry’ but the experimentation continued on the B-sides of the album’s singles. ‘White Soft Rope’ combined the unsettling imagery of bondage with a chorus sung a school choir, but ‘Gone To Earth’ was otherworldly. The reverberating bassline combined with swirling synths and dreamy glides while Alison’s alternate cosmic language startled with a spacey hypnotism.
Available on the GOLDFRAPP single ‘Black Cherry’ via Mute Records
Nathan Cooper who was in THE MODERN said: “The inspiration came from ROXY MUSIC’s ‘In Every Dream Home A Heartache’ which was about a blow up doll, we took that a step further and Model# 426 is about some kind of sex droid!! ‘Model #426’ was always the song that would get the audience talking because singer Emma would open a trunk on stage and lead a gimp out on a collar into the bemused looking audience!! I think it was actually that stunt that got us signed to Universal!”.
Interpolating KC & THE SUNSHINE BAND’s ‘That’s The Way (I Like It), ‘Party Song’ was naturally a throbbing disco driven affair outshone the horrendous Diane Warren penned ballad ‘Numb’ which comprised the main act. Lyrically inspired by the classic Joan Collins and Leonard Rossiter fronted Campari adverts that, it began life as a dance cover of NIRVANA’s ‘Smells Like Teen Spirit’ suggested by Elton John and intended as a single for a new PET SHOP BOYS ‘Greatest Hits’!!
Originally the B-side of ‘Numb’, now available on the PET SHOP BOYS album ‘Format’ via EMI Music
‘Japanese Kiss’ was from the debut release on Happy Robots from Alice Hubley and Adam Cresswell. “This was the first track I wrote for ARTHUR & MARTHA” he recalled, “mostly recorded in the bedsit I’d moved into after splitting up with my girlfriend. I was absorbed in self-pity, comforting myself with Japanese-horror movies and the company of my ARP Quartet, Moog Rogue and the DR-55. Living my best life!”; 11 years later as Rodney Cromwell, Cresswell did a NEW ORDER inspired ‘KW1’ remix.
Available on the ARTHUR & MARTHA single ‘Autovia’ via Happy Robots
Basing its title on the well-known NEW ORDER tune, as with a number of the B-sides listed here, ‘Bizarre Love Duo’ outshone the main act ‘Ghost’. It all began with a pitch shifted groan sample repeated with hypnotic effect over some squelchy backing. The track built itself to a fabulous but abstract electrodisco number with a marvellously catchy refrain. While not quite a song and not quite an experiment, ‘Bizarre Love Duo’ was enjoyable tune in the MARSHEAUX canon.
Originally the B-side of ‘Ghost’, now available on the MARSHEAUX album ‘E-Bay Queen Is Dead’ via Undo Records
A cover of a cover, namely SHOCK’s take on THE GLITTER BAND’s 1974 Top5 hit; playing the role of the Latin lothario in response to the Annie song ‘Anthonio’, Sebastian Muravchik of HEARTBREAK and now SNS SENSATION remembered: “Richard X produced this version of ‘Angel Face’ as a side B in his single ‘Annie’. I sang both sides, which kind of shows two sides of Anthonio’s personality in a way. It was a fantastic experience – Richard is a great guy and über pro, so really a win-win.”
Available on the ANTHONIO single ‘Annie’ via Pleasure Masters
“Positive and negative can only attract” sang Victoria Hesketh on the bouncy ‘Catch 22’, a lesser known LITTLE BOOTS track which initially only appeared on the 7 inch single of ‘Earthquake’ in the UK. Gloriously synthpoppy, along with other songs that did not make it onto the final tracklisting of her debut album ‘Hands’, it highlighted a possible direction that could have been taken, but which was ultimately watered down for wider acceptance after she was named BBC Sound Of 2009.
Originally the B-side of the single ‘Earthquake’, now available on the LITTLE BOOTS deluxe album ‘Hands’ via On Repeat Records
Continuing a great tradition among the synthpop acts of the past, VILLA NAH had ‘Benny’s Burning’ and ‘Daylight’ as part of their B-side armoury as well as the brilliant debut album ‘Origin’. Highlighting the inherent talent of the duo, ‘Benny’s Burning’ was a smoother and more atmospheric side of VILLA NAH compared with the uptempo technopop impressions of its A-side ‘Rainmaker’. The Helsinki duo later opened for OMD during the UK leg of 2010’s ‘History Of Modern’ tour.
Available on the VILLA NAH single ‘Rainmaker’ via Keys Of Life
Produced by Vince Clarke, ‘Never Let You Down’ was free of the many autotune treatments that Frankmusik had applied when helming the disappointing ‘Tomorrow’s World’ album in his attempts to make ERASURE sound more modern and contemporary. As a result, that heartfelt soul often associated with Andy Bell made its presence felt over a glorious galloping synthpop tune in the classic ERASURE vein, especially during the middle eight section in Spanish.
Available on the ERASURE single ‘Be With You’ via Mute Artists
In their short career, MIRRORS left not only a great album in ‘Lights & Offerings’ but a body of wonderful B-sides too. Any are worthy of mention but the nod goes to ‘Fall By Another Name’ as it was accessible enough to have been an A-side. Not as dense as MIRRORS’ usual pop noir hence its likely relegation to flipside, the bright pulsing melodies and James New’s Dave Gahan impression made this sound rather like a quality outtake from DEPECHE MODE’s ‘Speak & Spell’.
Available on the MIRRORS single ‘Into the Heart’ via Skint Records
While the A-side was a faithful cover version of Peter Schilling’s anthemic ‘Major Tom’, ‘Dead Air Einz’ was a self-composed song by APOPTYGMA BERZERK mainman Stephan Groth that was eagerly welcomed at the time, thanks to it being his first original new track for four years. Utilising distorted radio broadcasts in its backdrop, it also featured some Korg MS20 from Jon Erik Martinsen and was something of a grower with its steadfast drum machine shuffle.
Available on the APOPTYGMA BERZERK single ‘Major Tom’ via Pitch Black Drive Productions
Making their initial impression with ‘Lies’ in 2012, Glasgow trio CHVRCHES became the mainstream saviours of synthpop that LITTLE BOOTS and LA ROUX had promised but ultimately failed to deliver on. ‘Now Is Not The Time’ was a fantastic midtempo tune with a great chorus that like ‘The Mother We Share’ sounded like Taylor Swift gone electro. It got relegated to B-side status despite being superior to several songs on their debut album ‘The Bones Of What You Believe’.
Available on the CHVRCHES single ‘Recover’ via Virgin Records
As with the ‘Sounds Of The Universe’ boxed set only track ‘Oh Well’, the best song from the ‘Delta Machine’ sessions was left out of the main act. ‘All That’s Mine’ featured a tightly sequenced backbone, electronically derived rhythms and a gloomy Eurocentric austere, all the perfect ingredients for a classic DM tune! Not fitting into the faux blues aspirations of modern DEPECHE MODE, it made up for the dreary notions of the A-side ‘Heaven’ which were more like hell…
Originally the B-side of the single ‘Heaven’, now available on the DEPECHE MODE deluxe album ‘Delta Machine’ via Columbia Records
OMD’s ‘English Electric’ album was notable for combining conceptual art pieces alongside supreme electronic pop in a manner reminiscent of ‘Dazzle Ships’ and KRAFTWERK’s ‘Radio-Activity’. Although four of these concepts made it onto the final running order of the album, one that didn’t was ‘Time Burns’, a intriguing sound collage comprising of clock movements, chimes and digital watch alarms over rumbles of sub-bass and profound computer generated speech.
Originally the B-side of the single ‘The Future Will Be Silent’, now available on the OMD EP ‘Night Café’ via BMG
A stomping electro disco number produced by Mark Reeder and Micha Adam, Elizabeth Morphew’s cooing Bush-like howls and breathy euphoria are a total delight to the ears while the mighty cavernous sound provided the heat! However, ‘United’ has ended up as the B-side. Reeder said ”I saw a piece posted on ELECTRICITYCLUB.CO.UK about QUEEN OF HEARTS and I was curious. I really liked Elizabeth’s voice from the moment I heard the first couple of tracks.”
Originally the B-side of ‘Secret’, now available on the QUEEN OF HEARTS deluxe album ‘Cocoon’ via Night Moves
With an alluringly haunting vocal from Anais Neon, the eerily stark ‘Little Death Capsule’ saw VILE ELECTRODES tell the story of early space travel when these primitive craft were sent out of the earth’s atmosphere effectively sitting on inter-continental ballistic missiles, with burning up also a possibility on return. With pulsing instrumentation from Martin Swan, it featured the sort of sterling analogue treatments that would make KRAFTWERK and YELLOW MAGIC ORCHESTRA proud.
Available on the VILE ELECTRODES EP ‘The Last Time’ via Vile Electrodes
A touching tribute to Messrs Clarke, Gore, Hütter and Schneider with hints of YAZOO’s ‘In My Room’, Johan Baeckström said of ‘Synth Is Not Dead’: “I guess I just wanted to reflect on the fact that there still IS a synthpop scene with some really great bands, both old and new. In another way, the song is sort of my ‘thank you’ to some of the artists that inspired me for several decades – some of them are mentioned in the lyrics, but far from all of course”.
Available on the JOHAN BAECKSTRÖM single ‘Come With Me via Progress Productions
METROLAND (We Need) Machines Without Romance (2015)
METROLAND’s second album ‘Triadic Ballet’ was a triumphant electronic celebration of the Bauhaus, art movement led by Walter Gropius; he’d theorized about uniting art and technology and on the B-side of its launch single ‘Zeppelin’, METROLAND worked on a 21st Century interpretation of that goal. Now imagine if Gary Numan had actually joined KRAFTWERK in 1979? The brilliant ‘(We Need) Machines Without Romance’ would have surely been the result.
Originally the B-side of ‘Zeppelin’, now available on the METROLAND boxed set ’12×12′ via Alfa Matrix
Of the superbly rousing ‘Paper Thin’, Richard Silverthorn of MESH recalled: “Mark Hockings presented me with a demo at the time we were writing material for ‘Looking Skyward’. On first listen, I wasn’t too sure about the track as I thought it didn’t really fit with the overall feeling of the album so it kind of got shelved. The record company asked ‘what about the B-side?’ so Mark suggested ‘Paper Thin’ again. The bassline, drums and many other lines were changed and the new version came to life.”
After SCARLET SOHO, James Knights busied himself with a new Britalo inspired solo project. With hints of NEW ORDER’s ‘Subculture’ and found on KNIGHT$ debut EP ‘What’s Your Poison?’, he said “’So Cold’ is the second or third song I wrote as KNIGHT$. It’s a little darker than my other material, and the only song I’ve recorded using a marxophone (a fretless zither). It didn’t make it onto my debut album, but it’s still a song the audience enjoy, as do I.”
PSYCHE co-founder Darrin Huss said of ‘Truth Or Consequence’: “It started out under the title ‘Life On Trial’ and was about the Bradley Manning (now Chelsea) situation. It’s about the NSA surveillance, whistleblowers, etc. It’s also about the confusion between what is Truth, and what are the consequences of telling it, living it? Do we have safety in numbers? etc. It’s all in the lyrics. It’s a very PSYCHE song with even a nod to ‘The Brain Collapses’ with our use of that song’s drum machine the Oberheim DMX.”
That Marc Almond and Dave Ball reunited for a farewell gig and new material was a pleasant surprise. The frustration and anger expressed in ‘Guilty (Cos I Say You Are)’ with the lines “I can denounce you just because I can, I didn’t have the life I wanted, I didn’t do the things I dreamed” saw SOFT CELL continue where they left of in 2003. With dark resonances like ‘The Omen’ gone disco, its eerie gothique countered the celebratory electro-soul of A-side ‘Northern Lights’
INTERNATIONAL TEACHERS OF POP Another Brick In The Wall – Remoaner mix (2019)
INTERNATIONAL TEACHERS OF POP impressed with their self-titled debut album. With the single release of ‘The Ballad Of Remedy Wilson’ was a timely Remoaner mix of PINK FLOYD’s ‘Another Brick In The Wall’ sung in German that made a bold musical and political statement. Headteacher Adrian Flanagan said: “I hope that statement is ‘I hate PINK FLOYD but love KRAFTWERK’ and / or – ‘I hate you but love the EU’”.
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A fine return to the London stage that entertained all present including an unsuspecting Arsenal fan who was curious as to the goings-on in the clearly marked “HOME FANS ONLY” venue, James Knights said afterwards: “Well, what can I say. The energy in the room was electric. So good to connect with the audience again and play some of the rarer songs we’ve not played live before. You couldn’t hand pick a better fanbase than the KNIGHT$ one! I’m currently working on a new EP / vinyl release for 2023, and I’m sure there will be more live shows to mark that. We also have the 40th anniversary gigs of BOYTRONIC’s ‘Working Model’ album to look forward to as well… It’s good to be back.”
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via Telstar Records
via Toast Hawaii / Mute Records
via Mute Records
, now available on the album 
via Pie & Mash Recordings Ltd
via EMI Music
remix.
via Happy Robots
via Undo Records
via Pleasure Masters 
via Keys Of Life
via Mute Artists
via Skint Records
via Pitch Black Drive Productions
via Virgin Records
, now available on the DEPECHE MODE deluxe album 
via Columbia Records
via BMG
, now available on the QUEEN OF HEARTS deluxe album 
via Vile Electrodes
via Progress Productions
, now available on the METROLAND boxed set 
via Alfa Matrix
via Dependent Records
via Speccio Uomo 
via Artoffact Records
, now available on the SOFT CELL album 
via Universal Records
via Desolate Spools
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