Tag: Kraftwerk (Page 9 of 13)

WOLFGANG FLÜR Interview

2 June 2015 / electricityclub

Following a sold out appearance at London’s Hoxton Bar and Kitchen in January, electronic pioneer Wolfgang Flür returns to the UK and brings his ‘Musik Soldat’ show to Epic Studios in Norwich on SATURDAY 20TH JUNE 2015 with support from Glasgow’s ANALOG ANGEL.

Herr Flür was one of the first musicians to be widely seen playing a self-built electronic percussion set on German TV Station ZDF when he joined KRAFTWERK in 1973. Together with Ralf Hütter, Florian Schneider and Karl Bartos, they formed what has been universally regarded as the classic line-up of KRAFTWERK. Together with the albums ‘Autobahn’, Radio-Activity’, Trans Europe Express’, ‘The Man Machine’ and ‘Computer World’, the quartet conquered the world with their vision of the future and changed the course of music forever.

However, after a frustrating five year gestation period for the lukewarm ‘Electric Café’ album, Flür left the band in 1987. His many adventures during his time at Kling Klang were documented in his enlightening and entertaining autobiography ‘I Was A Robot’, published in 2000. More of his memories have been recollected in ‘Electri_City-Elektronische_Musik_Aus_Düsseldorf’, the new book by Rüdiger Esch which chronicles the history of the city’s music scene.

Herr Flür’s last full length long player was ‘Time Pie’ issued in 1997 under the moniker of YAMO. While a solo album is currently being completed, some of his recent musical adventures have included ‘Activity Of Sound’ in collaboration with iEUROPEAN and ‘Staying In The Shadow’ with Jack Dangers, formally of MEAT BEAT MANIFESTO.

Wolfgang Flür kindly answered questions put forward to him by ELECTRICITYCLUB.CO.UK about his upcoming Norwich date at Epic Studios and plans for his forthcoming album…

Photo by Richard Price

You have said your live appearances are not quite a DJ set but not a concert either. For the uninitiated, how would you describe it?

I show slides, videos, TV-recordings and play my taste of music to them. I’m not a DJ. DJing is another art. I’m an actor. I act my tracks physically by means of dancing, gesture rich movings.

After my show, I’m wet all over in my shirt and trousers and need a shower in my hotel.

Some people might think I’m crazy and I, yes, I am – for music! I cannot stand still with music, that’s my personality, my temperament. I inherited it from my mother.

You’ve described your new composition ‘Cover Girl’ as the sequel to ‘The Model’… what inspired this?

‘Cover Girl’ is indeed Mk II of ‘The Model’. Her story goes on and unfortunately shows her going downhill. She had bad experiences with drugs, alcohol and other things so had to dance in night clubs for earning money at least. A true story, a bad life… that’s sometimes the way how super models are knitting their career. Sindy Gunawan, our dancer in the video, was a former life dancer in my early German shows. Unfortunately she moved back to her homeland Indonesia, even though she was a German born. We had filmed her over the past years pretty often and I cut from such material, her life dance. This film on our current screen has a special paparazzi quality…

The YAMO album ‘Time Pie’ came out in 1997. Why has it taken so long to follow up?

That has to do with Germany, its pop culture and music-industry. In Germany, a pop artist has not that reputation like musicians in England I found out. I simply couldn’t find a fitting record company here. On the other hand, I worked not every day on lyrics, melodies and musical arrangements. I have written a book together with my wife Zuhal on the Germans (‘Neben Mir – Rheinland Grotesken’). A sixteen tales book, very weird stories and I had often been on book readings, instead working in the studio with partner Stefan Lindlahr. He owns a studio in Neunkirchen-Krahwinkel where Conny Plank had his famous place too. Since this year and many collaborations with other international musicians, I have a good and entertaining assortment of songs together for a whole new album. ‘ELOQUENCE’ is its name because of my story teller style inside most of the tracks.

One of your most recent releases has been the superb collaboration with iEUROPEAN called ‘Activity Of Sound’. How did this come about?

I met Sean Baron seven years ago when playing the Tivoli in Dublin. He was filming my show and sent the scenes to my home. Some years later he invited me into his iEUROPEAN project and sent me a soundtrack and some existing lyrics. I recorded those lyrics about sound and what it meant and included into the song. Sean made a final mix after that and it became a new track for iEUROPEAN. My contribution was spoken words only, no melodies or other sound additions from my side.

How does it feel to have electronic music enthusiasts still very happy to meet you, despite you having left KRAFTWERK in 1987?

It’s a totally cheering experience each time I still go on stage with my ‘Musik Soldat’ audio-visual show. I know what it is: I and also Karl represent something to our fans, it’s what they call The Originals. The original members of KRAFTWERK Mk I. We together with Ralf and Florian laid the cornerstone of what is called electro-pop, neue musik.

We are pioneers and went through all thinkable difficulties of former recordings, travels, experiences and friendship. This gives us safety in musical taste and inventive talent, new ideas. Listen to Karl’s ‘Atomium’ for instance. I’m coming up with something new my style in October…

‘Home Computer’ is one of the tracks in your set. Why does this KRAFTWERK track particular still resonate with you?

The funny thing is that we had no home computer when we recorded the song. The song describes the vision of what the humanity can await in the near future of 1978. What I play at the beginning of my show is a dance mix of that song. I like it very much, it has a lightweighted feel to the original and also shows where I come from (starting from ‘Autobahn’), my musical home.

You still have a very strong friendship with Karl Bartos. Have the two of you considered working together musically again?

Yes, often. We were not able to find a musical meetpoint. We developed too different in style and themes after our split from KRAFTWERK. But that’s not a problem between us, we are friends, good friends for a long time, and I appreciate every good advice he gives me. Karl lives in Hamburg since many years. We telephone nearly every week and speak about diverse things. It’s good to have a friend like him with the same musical past and experiences…

What interesting projects are coming up for you? Is there anyone you would like to collaborate with?

I have stopped YAMO as a musical project like for the ‘Time Pie’ album. All what can be brought out will be released from now under my personal name. ‘Eloquence’ for instance will have singers, spoken words, diverse additional musicians. I had much joy with collaborations like Bon Harris from NITZER EBB and Anni Hogan, formally from Marc Almond’s band. I also had a collaboration with Ramon Amezcua of NORTEC COLLECTIVE in Mexico and with Jack Dangers from San Francisco. All such co-ops happened during the last three years.

I’ll meet up with Bono of U2 in New York on 22nd July when he plays the Madison Square Garden. I was told that he’s a big KRAFTWERK fan. Let’s see what comes out of that meeting, I’m open for anything.

Of course, Düsseldorf has a huge musical heritage and you have contributed to Rudi Esch’s book ‘Electri_City – Elektronische Musik Aus Düsseldorf’ while your song ‘I Was A Robot’ is on the accompanying compilation. Why does the city have this marvellous artistic spirit?

Do you believe I would reveal something to you? Listen to ‘I Was A Robot’ when it’s out in England by October and you’ll find out.

Who were your own favourite acts to have emerged from Düsseldorf?

DER PLAN, DAF, MICHAEL ROTHER and NEU!

ELECTRICITYCLUB.CO.UK gives its grateful thanks to Wolfgang Flür

Special thanks also to Stephen Roper and all at Epic Studios

WOLFGANG FLÜR appears at Epic Studios, 114 Magdalen Street, Norwich, Norfolk NR3 1JD on SATURDAY 20TH JUNE 2015 with support from ANALOG ANGEL. Box Office: 01603 727727

http://www.musiksoldat.de

https://www.facebook.com/musiksoldat

Text and Interview by Chi Ming Lai
2nd June 2015

METROLAND Triadic Ballet

30 March 2015 / electricityclub

When KRAFTWERK’s ‘Trans-Europe Express’ was released in 1977, it was a landmark album that showcased European Modernism and synthesizer technology at its highest level.

With futuristic sounds produced using instruments by Moog, ARP, Vako and Matten+Wiechers, these machines however were beyond the pockets of most aspiring young electronic musicians.

But as Walter Gropius, founder of the Bauhaus art school said: “Today’s luxuries are tomorrow’s norm” and those aspiring young electronic musicians subsequently took advantage of the affordable synthesizers that had emerged from Japan, made by the likes of Roland and Korg. Today in 2015, Gropius’ vision is total reality, with the sounds and timbres of KRAFTWERK now able to be purchased for less than £100 via the Synth-Werk VST and controlled from a home workstation.

Gropius’ theories about uniting art and technology in his 1932 lecture ‘Kunst Und Technik – Eine Neue Einheit’ are celebrated by METROLAND on their ambitious new concept album ‘Triadic Ballet’. “Art begets art” so the saying goes; Passenger A and Passenger S have developed on the Gesammtkunstwerk of their debut long player ‘Mind The Gap’.

But now inspired by the basic principles of design; unity, hierarchy and variety, the duo have recorded their musical tribute to the German movement led by Walter Gropius, Hannes Meyer and Ludwig Mies van der Rohe.

The epic three part opener ‘Design’ salutes those principles with an impressive barrage of blips and blops in an impressive 11 minute musical journey. It starts sedately with ‘Unity’ before a sonic blast into ‘Hierarchy’ before it sweeps into a widescreen dance experience for ‘Variety’ without entering into four-to-the-floor monotony.

In another triadic approach (geddit?), Gropius, Meyer and van der Rohe are honoured in ‘3 Directors’ with a track that changes mood throughout its 5 minutes. It is wonderfully stern, propulsive stuff that captures the internal political tensions affecting the Bauhaus movement.

While voice and dialogue samples are prevalent throughout the album, there are no vocal toplines as such to speak of, even vocodered ones. All the tuneage comes from synthesizers and rhythmical passages, so this is effectively, an instrumental record in all but name.

‘Ikone Der Moderne’ borrows from ORBITAL and displays the urgency that ‘Triadic Ballet’ possesses compared with some of the steadier soundscapes of ‘Mind The Gap’. That dreamier approach though does make a return for the single ‘Zeppelin’ but it’s a red herring… following on, a harder, more industrial stance becomes embroiled in the template of ‘Machines Gone Mad’ and the Gothic laden title piece.

A METROLAND album cannot get reviewed with a mention of the ‘K’ word so the spectre of Düsseldorf, Deutschland’s art capital, looms most heavy on ‘Art + Technology’ and the more frantic ‘Struktur’. The mood continues with ‘Les Trois Couleurs’ but the pulsating kinetic energy of ‘The Manifesto’ is less Kling Klang and acts as a sound sculpture to articulate the values of Bauhaus.

Some pretty Synthanorma Sequenzer effects on ‘Utopia’ provide the backbone for a progressive soundscape that nicely encompasses the Bauhaus vision of a utopian world as one true man machine. It is a fitting, conclusion to a geometrically sharp meisterwerk that the house of construction would truly be proud of.

For those that wish to extend their viewing, ‘Triadic Ballet’ adventures into remix territory over two further albums with reinterpretations by the likes of FOTONOVELA, DEUTSCHE BANK, NATTEFROST and many more. These work as enlightening variations on the theme, like all good artworks.

THRESHOLD’s take on ‘3 Directors’, although not radically different, is turned into an express train ride while OBERKAMPF’s version plays rather a lot with the portamento setting. The rework of ‘The Manifesto’ by FRANCK KARTELL though is barer, yet driven by some fat white noise whips.

But for those happy with a purer art form where less is more, the main act from Belgium’s favourite fulfils the role quite nicely. They may have the spectre of KRAFTWERK looming over them (doesn’t everyone?) but with ‘Triadic Ballet’, METROLAND have proved they are now a credible, sustainable electronic entity on their own.

‘Triadic Ballet’ uses the following synthesizers and drum machines…

Novation Supernova, Novation Bass Station, E-MU Proteus, Kawai K1, Oberheim Matrix 1000, Roland JP8000, Waldorf Microwave, Quadrasynth, Yamaha CS6X, Casio SK5, Nord Lead 4, Roland Juno 60, Korg MS10, Korg MS20, Roland D50, Akai XR10, Boss DR Rhythm 55, Boss DR Rhythm 110, Roland CR78, Roland TR808, Roland TR909

‘Triadic Ballet’ is released on 16th April 2015 by Alfa Matrix as a 3CD deluxe boxset and digital download which can be pre-ordered from http://alfa-matrix-store.com/metroland-triadic-ballet-3CD

http://www.metrolandmusic.com/

https://www.facebook.com/metrolandmusic

https://twitter.com/MetrolandMusic

http://soundcloud.com/metroland

Text by Chi Ming Lai
Boekentoren Photos by Kristel Nijskens BE
29th March 2015

WOLFGANG FLÜR Live at Hoxton Bar and Kitchen

31 January 2015 / electricityclub

A packed Hoxton Bar was filled to capacity including the DJ who helped popularize KRAFTWERK in UK, Rusty Egan, Stevo Pearce of Some Bizarre, Clive Pierce from HARD CORPS, VILE ELECTRODES and assorted members of SPEAK & SPELL and ANALOG ANGEL.

Support DJ Annie Hogan did a sterling job in warming up the crowd with spins of SOFT CELL’s ‘Memorabilia’, a remix of FAD GADGET’s ‘Coitus Interruptus’ and the ‘Travelogue’ version of ‘Being Boiled’.

During the evening’s main set, several of the background images flashed up “WOLFGANG FLÜR – ex-KRAFTWERK”, but in reality, the man (machine) himself needed no such introduction.

There was a huge sense of anticipation as to what Flür would perform, as aside from his time spent with KRAFTWERK and YAMO with MOUSE ON MARS, there has been little in the way of solo work and only the recent release of ‘Activity Of Sound’ by iEUROPEAN (coincidentally Sean Barron of that project was present tonight too).

The set started promisingly with a hard-edged remix of ‘Home Computer’, whilst behind Flür were projected images of his time spent in KRAFTWERK, many of them from his private collection, showing an often unseen and candid side of the band that Hütter and Schneider have constantly tried to suppress. Taken alongside Flür’s controversial book ‘I Was A Robot’, many of the show’s images seemed calculated to help destroy the myth of the band as being automatons who only exist to clock in and out of Kling Klang studio, didn’t have girlfriends, and (God-forbid) enjoyed a social drink or two!

One could easily imagine the sight of Ralf Hütter walking in on the set and face-palming at the sight of some of the (less than flattering) images on show here. However, for the crowd, it provided a fascinating insight into some of the lesser-seen life and times of this iconic German band.

Throughout the set, Flür DJ’d using a Mac and occasionally manipulated a Korg Kaoss pad to filter some of the tracks, and after about 20 minutes it soon became apparent that the set was going to be far from a laurel-resting KRAFTWERK ‘Greatest Hits’ performance despite the reliance on images which seemed to suggest otherwise.

Tracks such as ‘Overdrive’ from Karl Bartos’ 1993 ELEKTRIC MUSIC album ‘Esperanto’ and the unreleased proposed sequel to ‘The Model’: ‘Cover Girl’ by the YAMO project provided some welcome relief from a set of mainly vocal-less techno which made up 80% of the tracks played. Despite a dogged determination not to play the nostalgia card, Flür seemed to thoroughly enjoy himself on stage, mimicking some of the animations behind him, throwing a few dad-dancing shapes and bringing out his Pickelhaube army hat at the climax of a driving techno set.

Ironically, the music and images seemed to click best when there wasn’t the distraction of the KRAFTWERK images behind Flür, with the venues lighting flashing to accompany time-lapse footage synced to the driving beats coming from his computer.

After about an hour the set was over and despite desperate shouts for an encore, Flür came back onto the Hoxton stage and explained that he didn’t have one. Such is his reputation, WOLFGANG FLÜR could have probably played anything vaguely electronic and the majority of the crowd would have travelled home happy.

But for many, it may have felt like a missed opportunity not to showcase some more KRAFTWERK songs. A snippet of the “21st Century” vocal from ‘Expo 2000’ made a tantalizing appearance half way through the set, but that (alongside the opening ‘Home Computer’ remix) was all you got.

With the unexpected passing of TANGERINE DREAM’s Edgar Froese a few days earlier, it did however feel reassuring to be able to enjoy an evening in the company of one of electronic music’s legendary founding fathers, and although the music played may not have been quite what was anticipated, it was still an hour spent with an undeniable legend who’s band and technology formed the blueprint of much of the music we listen to today.

‘Activity of Sound’ by iEUROPEAN featuring WOLFGANG FLÜR is released on Subculture Records. The download bundle including a remix by Clive Pierce and Rob Doran of HARD CORPS is available from http://subculturerecords.bandcamp.com/album/activity-of-sound

http://www.musiksoldat.de

https://www.facebook.com/musiksoldat

https://twitter.com/iwasarobot

Text by Paul Boddy
Photos by Richard Price
31st January 2015

LIKE LUKEWARM WATER… Poor Singles by Great Acts

17 January 2015 / electricityclub

Artists are not infallible creatures and even on great albums, there’s often a duff song that somehow gets released as a single and becomes a hit.

Some of these inferior singles though get found out early on and deservedly fail to capture the public’s imagination. However, sometimes the artists themselves will realise the errors of their ways with these less than satisfactory offerings.

They might quickly drop the track from the live set or rewrite history by excluding the said offending item from greatest hits packages. As a singular follow-up to the ‘We Hope You Enjoy Our New Direction’ albums article, here are twenty singles by your favourite acts who really should have known better.

Arranged in chronological and then alphabetical order with a restriction of one release per artist, these singles are, in the words of SPINAL TAP’s Nigel Tufnel, “like lukewarm water…” – a Spotify playlist is therefore not required 😉

JAPAN Don’t Rain On My Parade (1978)

Was this really the band who were to record ‘Ghosts’ four years later? You certainly wouldn’t have put your money on JAPAN becoming chart regulars by 1982 based on ‘Don’t Rain On My Parade’, a cover of BARBRA STREISAND’s set piece from ‘Funny Girl’ This hilarious two fingers rock thrash, with an unrecognisable David Sylvian snarling away, found an audience in Japan itself, which subsequently allowed them to develop into the artful combo they are better known as.

Available on the album ‘Adolescent Sex’ via Sony BMG Records

http://www.nightporter.co.uk/

TEARS FOR FEARS The Way You Are (1983)

After the success of their debut ‘The Hurting’, TEARS FOR FEARS’ label wanted an interim release. But after several months exploring their artier aspirations, the resultant single was poor. ‘The Way You Are’ was Curt Smith and Roland Orzabal trying to be JAPAN, only they weren’t very good at it! Smith said it was “probably one of the worst recordings I think we’ve done”. The change of direction to produce the rockier, more MTV friendly opus ‘Songs From The Big Chair’ proved to be far more fruitful.

Available on the album ‘Songs From The Big Chair – Deluxe Edition’ via Mercury Records

http://tearsforfears.com/

VISAGE Beat Boy (1984)

The lack of input from departed founder member Midge Ure as producer really exposed itself on VISAGE’s third long player ‘Beat Boy’. Most of the songs went on for far too long while Steve Strange’s flat, tuneless vocals and banal lyrics were allowed to run riot. Running for a painful six minutes on the album, even in edited single form, the title track really needed a ‘Go Faster’ stripe as the attempt to merge rock guitars with Fairlight stabs and industrialised percussion failed miserably.

Album version available on the album ‘Beat Boy’ via Cherry Pop

http://www.visage.cc/

BRONSKI BEAT & MARC ALMOND I Feel Love / Johnny Remember Me (1985)

‘I Feel Love’ looked like a dream combination for Jimmy Somerville’s swansong with BRONSKI BEAT to be paired with the one-time SOFT CELL front man. With ‘Love To Love You Baby’ and ‘Johnny Remember Me’ segued onto the main act, the well intentioned recording ended up a total cut ‘n’ paste mess with the poor stop / start edit into ‘Johnny Remember Me’ being particularly embarrassing. Meanwhile, the screaming match between Somerville and Almond was painful to the ears.

Available on the album ‘The Singles Collection 1984/1990’ via London Records

http://www.jimmysomerville.co.uk/

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

JOHN FOXX Enter The Angel (1985)

An attempt at crossing ‘Endlessly’ with ‘Like A Miracle’, the lukewarm ‘Enter The Angel’ from the ‘In Mysterious Ways’ album had none of the electro innovation of ‘Metamatic’ or the neu romance of ‘The Garden’. Featuring Eddi Reader from FAIRGROUND ATTRACTION on backing vocals, Foxx had gone all conventional and no longer stood out from the crowd like he once had. And the result was that the quiet man effectively retired from music until his 1997 re-emergence.

Available on the album ‘Modern Art: The Best Of’ via Music Club

http://www.metamatic.com

HOWARD JONES Look Mama (1985)

Howard Jones did much to further the cause of electronic music with his one-man synth act. But ‘Look Mama’, the second single from his second album ‘Dream Into Action’ was a tedious narrative about an interfering mother that was one of the weakest songs on the collection. Featuring a plethora of state-of-the-art digital sounds, their prominence was quite obviously to cover a weak tune. Amazingly, this one got into the UK Top 10!

Available on the album ‘Best: 1983 – 2017’ via Cherry Red

http://www.howardjones.com

THE HUMAN LEAGUE I Need Your Loving (1986)

THE HUMAN LEAGUE’s fifth album ‘Crash’ was largely rotten, save ‘Human’ and ‘Love Is All That Matters’, two Jam and Lewis numbers that were totally unrepresentative of Da League’s own sound. ‘I Need Your Loving’ had a crew of six on the writing credits, none of them members of the band! This had to have been a Janet Jackson cast-off from ‘Control’… Phil Oakey has been many things but Alexander O’Neal he certainly wasn’t while Joanne and Susanne could never sound like Cherelle!

Available on the album ‘Crash’ via Virgin Records

http://www.thehumanleague.co.uk

GARY NUMAN I Can’t Stop (1986)

A toss-up between this and ‘This Is Love’, these two singles from the below-par ‘Strange Charm’ both actually got in the UK Top 40… quite shocking when far superior singles from previous album ‘The Fury’ failed to make any chart impact. By 1986, Numan wasn’t sure if he wanted to be THE POWER STATION or Prince so ‘I Can’t Stop’ was frankly, all over the place! Whatever, flying took more of an interest in his life, Gary Numan’s career dip would not be reversed until 1994’s ‘Sacrifice’.

Available on the album ‘Strange Charm’ via Eagle Records

http://www.numan.co.uk

ULTRAVOX Same Old Story (1986)

The signs had not been good when drummer Warren Cann was fired from the band for preferring to use programmed percussion. With the success of his solo career, Midge Ure was dictating a more conventional back-to-basics approach. But while the soulful backing vocalists, live drums and brass section on ‘Same Old Story’ kept ULTRAVOX sounding with the times, the bland played on. The poor title of the parent album ‘U-Vox’ summed it all up… a band with something missing!

Album version available on the album ‘U-Vox’ via EMI Music

http://www.ultravox.org.uk

A-HA Touchy! (1988)

Such is life, the brilliant predecessor ‘The Blood That Moves The Body’ only reached No28 in the UK singles chart. Instead, the public took its rather ordinary and annoying follow-up ‘Touchy!’ to No11! Devoid of the usual emotive but melodic melancholy that had made songs such as ‘The Sun Always Shines On TV’ and ‘Hunting High & Low’ so dramatically appealing, the lead synth brass line, which ubiquitous for the time, was particularly annoying!

Available on the album ‘Stay On These Roads’ via Warner Music

http://a-ha.com/

HEAVEN 17 The Ballad Of Go Go Brown (1988)

When Glenn Gregory appeared on the single sleeve wearing a Stetson, the writing was on the wall. ‘The Ballad Of Go Go Brown’ with its slide guitar and harmonica was the antithesis of the funky modernism that HEAVEN 17 had previously stood for. Martyn Ware’s success as a producer for artists such as TINA TURNER and TERENCE D’ARBY around this time proved he hadn’t lost his creative nous… the once innovative trio had run out of steam.

Available on the album ‘Play To Win: The Best Of’ via Music Club Deluxe

http://www.heaven17.com

NEW ORDER Fine Time (1988)

NEW ORDER were acknowledged as a supreme singles act… until this! ‘Fine Time’ spoilt an otherwise brilliant album in ‘Technique’. A sly send-up of the acid house scene, even Bernard Sumner admitted it was “a novelty record”. A pitch shifted vocal was made to sound like an inebriate jackmaster impersonating Barry White, while the messy backing track was complimented by some bleeting sheep. One thing good about the single edit though is that it’s shorter!

Available on the album ‘Singles’ via Rhino Records

http://www.neworder.com/

EURYTHMICS Revival (1989)

1987’s ‘Savage’ album was a laudable attempt by Annie Lennox and David A Stewart’s to get back to their electronic roots after their overt flirtation with America for their previous two long players ‘Be Yourself Tonight’ and ‘Revenge’. But to launch the 1989 album ‘We Two Are One’, EURYTHMICS got all bland again on ‘Revival’. The squelchy synth bass could not disguise a lifeless tune that ironically, despite its rhythm ‘n’ blues influences, was lacking in soul.

Available on the album ‘We Too Are One’ via RCA / Sony BMG Records

http://eurythmics.com/

DURAN DURAN Violence of Summer (1990)

DURAN DURAN’s cover of ‘White Lines (Don’t Do It)’ is more comical than awful! But ‘Violence Of Summer (Love’s Taking Over)’ was a poor relaunch of their classic five-piece band format with guitarist Warren Cuccurullo and drummer Sterling Campbell joining the fold, following two albums as a trio. What they forgot to add to the line-up though was some tunes… unsurprisingly, ‘The Violence Of Summer’ has never made it onto any DURAN DURAN compilation CDs.

Available on the album ‘Liberty’ via EMI Music

http://www.duranduran.com

SIMPLE MINDS She’s A River (1995)

For SIMPLE MINDS’ worst commitment to the singular format, it was tempting to list ‘Belfast Child’ or their cover of PRINCE’s ‘Sign O’ The Times’, but the ploddy ‘She’s A River’ wins out. With overblown guitar histrionics, big drums and a virtually anonymous verse with no hook. Bizarrely, pop duo HURTS revived the template of ‘She’s A River’ for the even more appalling ‘Miracle’ in 2013!

Available on the album ‘Good News from the Next World’ via Virgin Records

http://www.simpleminds.com

PET SHOP BOYS New York City Boy (1999)

PET SHOP BOYS are as perfect singles act as you can get, but even they were not flawless. For their worst offering, it was a close race between the inappropriately titled ‘Winner’ and the camp OASIS of ‘I Get Along’. But ‘New York City Boy’ has to be Neil Tennant and Chris Lowe’s least convincing single. While ‘Go West’ took a VILLAGE PEOPLE song and applied an elegiac PET SHOP BOYS template, ‘New York City Boy’ was misguided attempt to try and actually be New York’s favourite disco queens.

Available on the album ‘Nightlife’ via EMI Music

http://www.petshopboys.co.uk

KRAFTWERK Expo 2000 (2000)

In a scandal equivalent to the UK’s Millenium Dome project, KRAFTWERK pocketed 400,000 Deutsch Marks for a five syllable processed voice jingle for Expo 2000! At the time, it was their first new composition for 14 years. Lacking the percussive drive previously provided by the now-absent Karl Bartos and Wolfgang Flür, ‘Expo 2000’ was a meandering, formless ditty which lacked the klassik melodicism that made KRAFTWERK great.

Available on the single ‘Expo 2000’ via EMI Music

http://www.kraftwerk.com

DEPECHE MODE Peace (2009)

‘Sounds Of The Universe’ is such a dire body of work. So surreally imagine as a diversion from its uninspired electro blues rock, John Lennon trying to write a KRAFTWERK song during THE BEATLES sessions that produced ‘Across The Universe’? Sounds interesting doesn’t it? DEPECHE MODE worked on the concept but came up with the ghastly ‘Peace’. No pleasures remained as the strained and nauseating chorus, attached to a lame verse, was more likely to harm diplomatic relations.

Available on the album ‘Sounds Of The Universe’ via Sony Music

http://www.depechemode.com

OMD If You Want It (2010)

For anyone who had loved OMD’s pioneering early catalogue, ‘If You Want It’ was horrid. An attempt at a soaring OASIS styled anthem, ‘If You Want It’ was not what fans were expecting. With an excruciatingly high key and a joint compositional credit to Tracey Carmen, who had worked with Andy McCluskey’s girl group creation ATOMIC KITTEN, its true origins can only be guessed at. But thankfully, OMD managed to snatch victory from the jaws of defeat with 2013’s ‘English Electric’ opus.

Available on the album ‘History Of Modern’ via Blue Noise

http://www.omd.uk.com

ERASURE When I Start To (2011)

On paper, things were not promising as the severely over rated FRANKMUZIK was recruited to apply his modern dance production aesthetic to Andy Bell and Vince Clarke’s classic synthpop on the ‘Tomorrow’s World’ album. But its first single ‘When I Start To (Break It All Down)’ sounded like a rather anodyne TAKE THAT ballad and Bell’s voice was strained to an auto tuned flatness, lacking power and soul.

Available on the album ‘Tomorrow’s World’ via Mute Artists

http://www.erasureinfo.com

Text by Chi Ming Lai
17th January 2015, updated 22nd January 2018

25 SYNTH SINGLES THAT SHOULD HAVE BEEN HITS

3 January 2015 / electricityclub

The late Ronnie Peterson has been acknowledged as one of the fastest Grand Prix drivers of all time, yet he was never crowned World Champion.

Statistics can often not be a good indicator of quality and so it is that sometimes, a great single never actually attained the sales recognition it deserved. This could have been due to timing, lack of interest from a fickle music buying public or even a saturated market.

While some of these lost singles do get forgotten, many become live standards and firm fan favourites. So here are 25 singles from predominantly established acts or collectives featuring figures who are now well known in the music scene, that did not reach the UK Top 40 singles chart. Due to the sheer numbers of songs that are eligible, a cut-off point has been made for when CD singles started to become the norm around 1990.

After much deliberation, it was decided to leave out the work of ASSOCIATES as a number of their songs that would have been contenders for this list were featured in ELECTRICITYCLUB.CO.UK’s own Beginner’s Guide To Billy MacKenzie. There are of course, several other notable omissions, but this list could go on forever…

So with a restriction of one single per artist moniker, the list is presented in chronological order by year, and then alphabetically…

THE HUMAN LEAGUE Empire State Human (1979)

It seems strange now that this extremely catchy single failed to be a hit in an era when synthesizers were being accepted by the wider record buying public. After all, both SPARKS and TUBEWAY ARMY had entered the Top 20 with their Moog assisted ditties. In hindsight though, Colin Thurston’s production did sound comparatively thin next to ‘The Number One Song in Heaven’ and ‘Are Friends Electric?’. Despite a timely re-release in 1980, ‘Empire State Human’ only reached a high of No62.

Available on THE HUMAN LEAGUE album ‘Reproduction’ via Virgin Records

http://www.thehumanleague.co.uk

LORI & THE CHAMELEONS Touch (1979)

THE CHAMELEONS (not to be confused with the cult Manchester band) were actually Zoo Records supremos Bill Drummond of THE KLF fame and country house resident Dave Balfe who played keyboards with THE TEARDROP EXPLODES. On the beautifully sequenced ‘Touch’, art school student Lori Lartey innocently told of her holiday romance in Tokyo. It spent one week at No70 when re-issued on Sire Records. There was to be just one more single entitled ‘The Lonely Spy’.

Available on the compilation album ‘North By North West’ (V/A) via Korova Records / Warner Music

http://www.penkilnburn.com/

JAPAN Gentlemen Take Polaroids (1980)

After three albums with Ariola Hansa, JAPAN decamped to Virgin Records and reached No60 with ‘Gentlemen Take Polaroids’, their first single release on the label. But much more was expected as the band were already playing huge venues such as The Bukodan in Tokyo. It would not be until Autumn 1981 following a cash-in release of ‘Quiet Life’ by their former label that David Sylvian and Co. were to become regular singles chart fixtures.

Full length version available on the JAPAN album ‘Gentlemen Take Polaroids’ via Virgin Records

http://www.nightporter.co.uk

ROBERT PALMER Johnny & Mary (1980)

Robert Palmer took an interest in synths having become a fan of Gary Numan and JAPAN. ‘Johnny & Mary’ was a beautifully world weary number that hit a high of No44. He later had massive success with a more rock flavoured sound while his bank balance was enhanced when the song was covered for the ‘Papa et Nicole’ Renault adverts. Bryan Ferry’s reinterpretation with Todd Terje exposed a twilight years scrutiny on the lyrics which sadly, Palmer himself was never able to do…

Available on the ROBERT PALMER album ‘Clues’ via Island Records / Universal Music

http://www.robertpalmer.com/

SIMPLE MINDS I Travel (1980)

SIMPLE MINDS were signed to Arista Records between 1979-1980 and like JAPAN, they were met with indifference by their label. ‘I Travel’ was their penultimate single at Arista who threw in a free blue flexidisc featuring ‘Kaleidoscope’ and ‘Film Theme Dub’ as a sweetener to early purchasers. But despite airplay at The Blitz Club where its futuristic frenzy was highly welcomed, ‘I Travel’ did not make any chart impact.

Available on the SIMPLE MINDS album ‘Celebrate: The Greatest Hits’ via Virgin Records

http://www.simpleminds.com

ULTRAVOX Passing Strangers (1980)

Things were heading in the right direction for the Mk2 line-up of ULTRAVOX following ‘Sleepwalk’ getting to No29 in the UK chart. Built around a more synth rock structure, ‘Passing Strangers’ had a great chorus and a sympathetic environment in which THE HUMAN LEAGUE and DEPECHE MODE were also managing to break through. But the single stiffed at No57 and it would take the massive surprise success of ‘Vienna’ in early 1981 to truly establish ULTRAVOX as a chart force.

Available on the ULTRAVOX album ‘The Collection’ via EMI Records

http://www.ultravox.org.uk

OUR DAUGHTER’S WEDDING Lawnchairs (1981)

New York’s OUR DAUGHTER’S WEDDING were one of the new synthpop acts to emerge from across the Atlantic and their best known song ‘Lawnchairs’ was a frantic mechanised combination of OMD and Gary Numan. Despite gaining regular radio play in the UK, its chart summit was No49. The trio later re-recorded ‘Lawnchairs’ with a more conventional live drum sound, but this template totally took the charm out!

Available on the OUR DAUGHTER’S WEDDING album ‘Nightlife – The Collection’ via EP Music

http://www.synthpunk.org/odw/

SOFT CELL Memorabilia (1981)

Produced by Daniel Miller, ‘Memorabilia’ borrowed heavily from Cerrone’s ‘Supernature’. Released as a 12 inch single but relegated to B-side on the edited 7 inch with ‘A Man Could Get Lost’ as the A-side, Almond recalled a list of trashy souvenirs that were also metaphors for stalking. Dark yet danceable, despite not being a hit, ‘Memorabilia’ would later becitied as an influential proto-house classic.

Available on the SOFT CELL album ‘The Very Best Of’ via Phonogram / Universal Music

http://www.marcalmond.co.uk

BLANCMANGE Feel Me (1982)

If Ian Curtis had joined TALKING HEADS, then it might have sounded like this. “I always thought it was more David Byrne than Ian Curtis but, there was never any intention” recalled Neil Arthur in 2013, “We hired a Roland Jupiter 8, an ARP sequencer and a Korg MS20 plus a Linn LM-1 which Stephen Luscombe and I programmed up”. Reaching No46, ‘Feel Me’ always had untapped hit potential as FAITHLESS’ reworking using Arthur’s vocals proved.

Available on the BLANCMANGE album ‘Happy Families’ via Edsel Records

http://www.blancmange.co.uk

THOMAS DOLBY Europa & The Pirate Twins (1982)

With its thundering Simmons drums and glistening synth riff, ‘Europa & The Pirate Twins’ was based on a real life romance of Dolby’s: “I had a girlfriend and we used to fantasise that after the apocalypse, wherever we were, we would meet up on this beach in East Anglia where I grew up… I always thought she’d end up being this big movie star or something”. The song was not a Top40 hit, but entered the wider consciousness when it was used as the theme to BBC Radio1’s ‘Saturday Live’.

Available on the THOMAS DOLBY album ‘The Golden Age Of Wireless’ via EMI Records

http://www.thomasdolby.com

HEAVEN 17 Let Me Go (1982)

Glenn Gregory and Martyn Ware often cite ‘Let Me Go’ as their favourite HEAVEN 17 song. Propelled by a funky Roland TB303 Bassline before it was hijacked by Acid House, ‘Let Me Go’ had hit written all over it, but stalled at No41. But in a competitive Autumn ‘82 for new releases, later international hits like Thomas Dolby’s ‘She Blinded Me With Science’ and EURYTHMICS’ ‘Love Is A Stranger’ (on its initial release) were having difficulties getting into the UK Top40.

Available on the HEAVEN 17 album ‘The Luxury Gap’ via Virgin Records

http://www.heaven17.com

THE TEARDROP EXPLODES Tiny Children (1982)

THE TEARDROP EXPLODES may not have been a synthesizer driven group, but this marvellously haunting ballad was layered in Prophet5 courtesy of Dave Balfe while Julian Cope sounded like a distressed little boy, lost in his sunshine playroom. Mercury Records probably thought ‘Tiny Children’ would be a hit following the success of JAPAN’s ‘Ghosts’ but released in June 1982, the sonic chill was not what people were wanted as they prepared for their summer holidays!

Available on THE TEARDROP EXPLODES album ‘The Greatest Hit’ via Mercury / Universal Music

https://www.headheritage.co.uk/

TEARS FOR FEARS Suffer The Children (1982)

When TEARS FOR FEARS first appeared, they were trying to emulate OMD. ‘Suffer The Children’ took inspiration from Curt Smith and Roland Orzabal de la Quintana’s interest in Primal Scream therapy while musically, it recalled McCluskey and Humphreys’ ‘Pretending To See The Future’ but with more guitar. The child-like refrain by Ozabal’s wife within the bridge and coda would have actually sounded like an OMD hookline had it been played on synth.

Available on the TEARS FOR FEARS deluxe album ‘The Hurting’ via Mercury / Universal Music

http://tearsforfears.com/

VISAGE Pleasure Boys (1982)

In Autumn 1982, VISAGE were in a state of limbo following the departure of Midge Ure. But with John Luongo who had remixed ‘Night Train’ on board, the remaining quartet of Steve Strange, Rusty Egan, Billy Currie and Dave Formula plus new bassist Steve Barnacle explored New York electro. ‘Pleasure Boys’ was hard and aggressive with lyrics full of hedonism. But the New Romantic audience had moved on and sales were only enough for it to get to No44.

Full length dance mix version available on the VISAGE album ‘The Face – The Best Of’ via Universal Music

http://www.visage.cc/

DEAD OR ALIVE Misty Circles (1983)

Have courted the major labels, DEAD OR ALIVE finally settled on Epic Records and unleashed this vicious slice of electro gothic disco in ‘Misty Circles’ as their first single release for them. Featuring guitars from a soon-to-be-sacked Wayne Hussey, who went on to join THE SISTERS OF MERCY and then form THE MISSION, ‘Misty Circles’ had a highly unusual sound produced by Zeus B Held that was darker than the romping Hi-NRG that DEAD OR ALIVE were later to have hits with.

Full length version available on the DEAD OR ALIVE album ‘Evolution’ via Epic Records / Sony Music

http://www.deadoralive.net/

JOHN FOXX Endlessly (1983)

By 1983, JOHN FOXX had moved away from pure electronic music and was now listening to both SIMPLE MINDS and U2. His third solo album ‘The Golden Section’ took on a more pop oriented slant under the auspices of producer Zeus B Held ‘Endlessly’ was initially released in 1982 as a moody Linn drum heavy psychedelic romp and failed to chart. But for the new version, thundering sequencers, Simmons drums and a danced up euphoria were added… however, it still failed to be a hit.

Available on the JOHN FOXX album ‘The Golden Section’ via Esdel Records

http://www.metamatic.com

OMD Telegraph (1983)

‘Electricity’ would have been a hit had its sales not been spread over three separate releases with different recorded versions between 1979-80. ‘Telegraph’ was an angry metaphoric attack on religious fundamentalism in the USA, but considered to be the most commercial track on OMD’s brave but critically panned nautical adventure ‘Dazzle Ships’. With an infectious synth melody, what was there not to like? But OMD’s audience had diminished by this time and it only got to No42.

Available on the OMD album ‘Dazzle Ships’ via Virgin Records

http://www.omd.uk.com

TALK TALK My Foolish Friend (1983)

Produced by Rhett Davies who was best known for his slick touches on ROXY MUSIC’s ‘Avalon’, ‘My Foolish Friend’ was the last TALK TALK song to feature contributions from their original keyboardist Simon Brenner. Released between ‘The Party’s Over’ and ‘It’s My Life’ albums as a single, Mark Hollis was in wonderfully miserable mode over a dramatic synthesized backdrop. The single became lost when it only reached No57 and was not included on the ‘It’s My Life’ long player.

Available on the TALK TALK album ‘Asides Besides’ via EMI Music

http://www.spiritoftalktalk.com

THE BLUE NILE Tinseltown In The Rain (1984)

A classic song that sounded like THE PSYCHEDELIC FURS fronting OMD, ‘Tinseltown In The Rain’ is regarded as THE BLUE NILE’s signature tune. Released as part of a deal with hi-fi manufacturer Linn Products to showcase their flagship Sondek LP12 turntable, the gorgeous melancholy of ‘Tinseltown In the Rain’ had an understated quality that ensured the trio’s sporadic releases over the next 20 years were eagerly anticipated by the musical cognoscenti.

Full length version available on THE BLUE NILE album ‘A Walk Across The Rooftops’ via Virgin Records

http://www.thebluenile.net

CHINA CRISIS Arizona Sky (1986)

CHINA CRISIS are probably the most underrated band of their generation. Lyrically inspired by an artificially assisted gondola ride in Venice, ‘Arizona Sky’ was one of their many singles which deserved greater recognition. The nucleus of Gary Daly and Eddie Lundon usually managed at least one hit per album but with ‘Arizona Sky’, it was not to be. It settled at No47 despite the song’s brilliant singalong chorus, infectious synthesized textures and catchy “bop-bop-be-doo-dah” refrain.

Full length version available on the CHINA CRISIS album ‘Wishful Thinking: The Very Best Of’ via Universal Music

https://www.facebook.com/pages/China-Crisis/295592467251068

ERASURE Oh L’Amour (1986)

“Why are they doing a DOLLAR song?” someone was overheard at their first visit to an ERASURE concert. And this ultimately sums up why ‘Oh L’Amour’ should have been a massive hit. Its now highly collectable ‘Thomas The Tank Engine’ cover had to be withdrawn due to copyright infringement and wouldn’t have helped availability. However, it should be noted that the original artwork actually features two incidental characters from the Reverend W Audrey’s famous books…

Available on the ERASURE album ‘Always – The Very Best Of’ via Mute Records

http://www.erasureinfo.com

NEW ORDER Bizarre Love Triangle (1986)

One of NEW ORDER’s best loved tunes, ‘Bizarre Love Triangle’ only reached No56 in the UK singles chart. However, the version released was an irritating, dance enhanced remix by Shep Pettibone which took all the subtlety out of the song with its collage of overdriven percussive samples. Far better and much more commercial was an at-the-time unreleased remix by Stephen Hague which later formed the basis of the ’94 version on ‘(the best of)’ compilation.

Available on the NEW ORDER album ‘Singles’ via Rhino Records

http://www.neworder.com

ACT Snobbery & Decay (1987)

It was the height of Thatcherism and the Synclavier driven theatrics of ‘Snobbery & Decay’ were a sharp observation by Claudia Brücken and Thomas Leer on the state of the nation. However, the UK were not yet ready for an Anglophile German to tell them about its political decline… “No sadly they didn’t” remembered Claudia Brücken in Summer of 2010, “perhaps it was just not the right moment for this song… Thomas does think that perhaps we were ahead of our time”.

Available on the CLAUDIA BRÜCKEN album ‘ComBined – The Best Of’ via Salvo / Union Square Records

http://www.claudiabrucken.co.uk

KRAFTWERK The Telephone Call (1987)

The last single featuring the classic RFWK line-up, ‘The Telephone Call’ was the most immediate track on the disappointing ‘Electric Cafe’ album. Featuring lead vocals from Karl Bartos, despite the abundance of digital synthesis and sampling, ‘The Telephone Call’ still had all the usual Kling Klang hallmarks such as pretty melodies, syncopated rhythms and slightly off-key singing to make this to ‘Electric Cafe’ what ‘Computer Love’ was to 1981’s ‘Computer World’ opus.

Available on the KRAFTWERK album ‘Techno Pop’ via Mute Records

http://www.kraftwerk.com

CAMOUFLAGE The Great Commandment (1988)

Today, DEPECHE MODE influenced acts are common place but in 1988, this was highly unusual. Taking ‘Some Great Reward’ as their template, CAMOUFLAGE developed on the industrial flavoured synthpop of ‘Master & Servant’ and ‘People Are People’ which DM had all but abandoned from ‘Black Celebration’ onwards. ‘The Great Commandment’ was probably the best single DM never recorded but while it was a hit in Europe and the US, it made no impression in the UK.

Available on the CAMOUFLAGE album ‘The Singles’ via Polydor Records / Universal Music

http://www.camouflage-music.com/

Text by Chi Ming Lai
3rd January 2015

Tag: Kraftwerk (Page 9 of 13)

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