Tag: Mesh (Page 2 of 6)


Over the last 10 years, ELECTRICITYCLUB.CO.UK has been a voice for the discerning enthusiast of electronic pop.

With a balancing act of featuring the classic pioneers of the past alongside the emergent new talent for the future, the site has become well known for its interviews and reviews.

It asks the questions people have always wanted to ask while celebrating the continuing development of the synthesizer in popular music.

All this while holding to account those who deliver below expectations, assuring the listener that if they are perhaps not hearing the genius that some devoted fans are declaring, then ELECTRICITYCLUB.CO.UK is there to assist in affirming or denying that assessment.

But when artists do deliver, they tend to build a strong relationship with ELECTRICITYCLUB.CO.UK. So with the site celebrating its first 10 years, presented here are greetings and messages from some people who you might know…

Rusty Egan, VISAGE

ELECTRICITYCLUB.CO.UK is 10 years old with the synth knowledge of a 50 year old. If I can’t remember something electronic I don’t Google, I visit ELECTRICITYCLUB.CO.UK!

Glenn Gregory, HEAVEN 17

ELECTRICITYCLUB.CO.UK and its wonderful leader Chi is like the League Of Super Heroes for Electronic Music. Our future is safe in his hands.

I have been involved in electronic music making for 40 years, yet one half hour conversation with Chi makes me realise how little I know. From then to now, he’s knows!


Chi has been brilliantly supportive of BLANCMANGE, for which I am very grateful. We’ve always managed to have a good laugh during our interviews, as he would ask me about the darkness and gloom lying within a given BLANCMANGE song! I look forward to our next chat.

ELECTRICITYCLUB.CO.UK has a very important place and a role to play, in spreading the news of electronic music, new and old, far and wide. Here’s to the next ten years. Well done and good luck.


Thanks for all your wonderful support Chi, so glad someone has taken the time to ask some great questions…

Sarah Blackwood, DUBSTAR

I love the website. It’s a treasure trove of informative articles, both a very readable historical archive and a forward looking platform for encouraging new talent. In what can be traditionally and lazily categorised as a very male dominated scene, Chi encourages great music regardless of gender and I enjoy the updated Spotify playlist if I’m ever stuck for what to listen to whilst running.

As regards interviews, it’s always enjoyable – Chi is a bit too easy to talk to and his passion for music and synth geekery shines through – heaven forbid you try sneaking a (cleared) sample past him, he will spot it!

Is it 10 years already? Happy birthday ELECTRICITYCLUB.CO.UK!

Chris Payne, DRAMATIS

With 18,000 likes and 12,000 Facebook followers; ELECTRICITYCLUB.CO.UK under the guidance of its purveyor Chi Ming Lai, has become the leading place for the Electronic Music fan. Intelligent, well written and well researched journalism with a great team of writers presenting an array of brilliant fascinating new acts (and some older ones as well!), hopefully it will continue for at least another 10 years.


Congratulations to ELECTRICITYCLUB.CO.UK on ten years of brilliant reporting of, and support to, the electronic pop scene. ELECTRICITYCLUB.CO.UK is the authoritative publication “of record” for fans and makers of synthpop alike and is the international rallying point and HQ for our music. We look forward to many more years of in-depth interviews and probing articles, all in the beautifully written style. Happy birthday ELECTRICITYCLUB.CO.UK!

Mark White, ABC + VICE VERSA

Chi Ming Lai and Paul Boddy are two of the most learned, nay, erudite music journalists I’ve had the pleasure of meeting, a rare experience indeed to be quizzed by a pair who know their onions. And unusual integrity. Chi promised me if we asked, he would turn off the tape recorder and it would never appear in print. And has been true to his word. This has literally never happened in my career. Also these two chaps are bloody good fun. I laughed til I cried. Go see the movie!

Rob Dean, JAPAN

10 years of ELECTRICITYCLUB.CO.UK? Only one for me (yes, I know…), but it’s heartening to know that Chi and the crew have created a site so cutting edge for us die-hard fans of electronica. Having read the highly entertaining VICE VERSA chaps interview, I was delighted to be asked to do my own, confident that the questions would be thoughtful and intelligent and yes, a little bit probing too. Here’s to the next 10 and thank you!

Richard Silverthorn, MESH

On several occasions I have done interviews for ELECTRICITYCLUB.CO.UK. Every time I felt like they actually cared about the music and scene and put some educated thought into the questions. It’s good to feel that enthusiasm.

Tom Shear, ASSEMBLAGE 23

Congratulations on 10 years of covering and supporting the scene! Here’s to another 10 and beyond…

Sophie Sarigiannidou, MARSHEAUX

I first met Chi at Sparrowhawk Hotel, Burnley in November 2000 for an OMD convention. It took me 13 hours to reach by train to Burnley from London due to bad weather. I saw him playing live (!!!!) with his covers band THE MESSERSCHMITT TWINS, they were having their time of their life, dancing and singing, so so happy! Us too of course!! From that moment on we became friends. Then he supported our band MARSHEAUX from the very early beginning and I thank him a lot for that!

It’s always great having Chi asking questions for interviews. We as a band had our best interviews with ELECTRICITYCLUB.CO.UK! We spent a lot of hours talking about the history of electronic music and the future of synthpop. My favourite articles are the “Beginners Guide To…” series, you have a lot to learn from these pages!!! Happy Anniversary Chi, we’ve indeed had 10 amazing years with ELECTRICITYCLUB.CO.UK. I hope and wish the next 10 to be even better.

Mark Reeder, MFS BERLIN

Congratulations and a very Happy 10th Birthday! Over the past 10 years, ELECTRICITYCLUB.CO.UK has developed into becoming the leading website for all kinds of electronic synthpop music. It has become a familiar friend, because it is something I can personally identify with, as it is maintained by fans, for fans.

However, it is not only commendable, but can also be quite critical too, and that is a rare balancing act in the contemporary media world.

It has been a great source of regular electronic music information. I have discovered and re-discovered many wonderful electronic artists, and regularly devour the in-depth interviews and features.

Through ELECTRICITYCLUB.CO.UK, I have been introduced to and worked with some of the wonderful artists presented on your pages, such as QUEEN OF HEARTS or MARSHEAUX and in return, it has supported my work, my label and my artists too, and I thank them for that! We can all celebrate ten years of ELECTRICITYCLUB.CO.UK and together, look forward to the next 10 years of inspiring electronic music.

Per Aksel Lundgreen, SUB CULTURE RECORDS

ELECTRICITYCLUB.CO.UK is a highly knowledgeable and very passionate site! They are digging out rarities from the past as well as exploring and discovering new acts, giving them attention and writing about them often before anybody else around have even heard of them.

This makes ELECTRICITYCLUB.CO.UK a very interesting page to follow, as their in-depth stories about older bands “missing in action” as well as the latest stuff “in the scene” gets perfectly mixed together, giving you all you want basically in a one-stop-site for everything electronic. I also love the way they give attention to unsigned / self-released bands and small indie-labels, giving everybody a fair chance as long as the music is good enough. Congrats on the 10th Anniversary, well deserved!

Jane Caley aka Anais Neon, VILE ELECTRODES

When VILE ELECTRODES were just starting out, we heard through the Facebook grapevine about a new electronic music blog called ELECTRICITYCLUB.CO.UK. We had a London gig coming up, and had recently made a promo video for our song ‘Deep Red’, so we dropped them an email about both, not expecting to hear back, since we were virtually unknown.

However it transpired they really liked our sound, likening us to “Client B born and raised in the Home Counties fronting Dindisc-era ORCHESTRAL MANOEUVRES IN THE DARK”.

ELECTRICITYCLUB.CO.UK subsequently gave this very description to Andy McCluskey, which piqued his interest such that he checked out our music. We were invited to tour Germany with OMD as a direct result!

George Geranios, UNDO RECORDS

Chi is a really rare quality of a man. He is passionate about music which is so obvious of course while reading ELECTRICITYCLUB.CO.UK. Through our mutual love for OMD, we discovered that we have the same musical taste. ELECTRICITYCLUB.CO.UK helped us promote all of Undo Records projects and finally we ended collaborating and releasing this brilliant double CD compilation! Chi, I wish you health and to continue writing the best music texts in the industry!!


Some people say ELECTRICITYCLUB.CO.UK doesn’t support the scene but I’ve not found that to be the case; having been a part of two gigs and the recent CD, I know how much blood, sweat and tears they put into what they do. ELECTRICITYCLUB.CO.UK might get a few people’s back-up, but they know their stuff when it comes to synth-driven music and I’m massively grateful that they have supported so many Happy Robots artists since 2010.

Stuart McLaren, OUTLAND

It’s no secret that the burgeoning new synthwave genre shares a common history with the great synthesizer acts and pioneers of the 80s, like Dolby, Jones, Luscombe, Wilder, Daly et al who created new soundscapes with what we now define as vintage synths.

These sounds are brought back to life by pioneers in their own right like FM ATTACK, GUNSHIP, ESPEN KRAFT and BETAMAXX to name a few.

ELECTRICITYCLUB.CO.UK and Chi Ming Lai have always been at the forefront of championing, interviewing and reviewing the luminaries of this great instrument past to present, and are likely to remain the de facto voice of the synth scene well into the future… we agree on one thing and that is FM-84’s singer Ollie Wride is deffo one to watch as a star for the future!


Happy Birthday ELECTRICITYCLUB.CO.UK. thank you for your support. You never fail to impress with your encyclopedic knowledge of synthpop. Here’s looking forward to 10 more!

Mr Normall, NUNTIUS

I’ve been following most of my favourite artists since they were brand new and often this means it’s a period of 30+ years, yet when reading articles and interviews by ELECTRICITYCLUB.CO.UK, I have learned every time something new about of my favourites.

Following ELECTRICITYCLUB.CO.UK have made me pay attention to several new acts that I would likely know nothing about if they hadn’t appeared on the page.

Catrine Christensen, SOFTWAVE

An outstanding magazine supporting new and upcoming artists whom they choose carefully as they have great taste of music regarding to their huge knowledge within the synthpop genre, when it comes to their writing and promotion – there’s no one like them. Happy birthday ?

Elena Charbila, KID MOXIE

Happy 10th birthday ELECTRICITYCLUB.CO.UK! Your love and commitment to the synth community is unparalleled and your support has meant a lot to me on a professional but also on a personal level. Here’s to the next 10 years! ?

Alexander Hofman aka Android, S.P.O.C.K

I’m a fan of ELECTRICITYCLUB.CO.UK for several reasons. You showed up when I perceived the majority of the electronic scene had turned more and more harsh; as much as I can appreciate an occasional emotional outburst, I’m a happy guy and thus I’m into pop – ELECTRICITYCLUB.CO.UK showed, and still shows me that there’s still electronic pop music being made. Good electronic pop! Which makes me glad, as I find the greater part of the generally popular darker scene to be of lower musical quality.

Moreover, ELECTRICITYCLUB.CO.UK writes in an amazingly happy tone – remember, I’m a happy guy, so it’s right up my alley. Add the fact that ELECTRICITYCLUB.CO.UK regularly publishes interesting articles, using intelligent and varied vocabulary, shows enormous knowledge and interest of the theme, the style, the scene – and I’m hooked. Thanks for being around – keep up the good work, it’s much needed! And congratulations – let’s grab a beer again! ?

Text compiled by Chi Ming Lai
15th March 2020


Ian Ferguson, founder member of RAINLAND, one-time member of ANALOG ANGEL and occasional contributor looks back from both sides of the fence at ELECTRICITYCLUB.CO.UK

It’s appropriate that a 10th anniversary is celebrated with tin or aluminium given the current state of the UK electronic scene (spoiler, there is no ‘scene’, just folk making scenes) as when looking for gold, you are more likely to dig up an old mouldy dog food can than a nugget of rare and precious metal.

Like the UK industrial scene before it, this loose of collection of folk making noise is slowly eating itself alive in the pursuit of success that was never going to be attainable in first place.

Seriously, the number of grown adults acting as though they are members of a million selling act rather than one that can’t fill a phone box would be hilarious if it wasn’t so toxic in the way it manifests itself, but more of that later..

So what of my last decade as a fan of electronic music, a contributor to ELECTRICITYCLUB.CO.UK and someone that has thrown out a few releases of my own in that time? Highlights and lowlights abound and here are a few of them…

‘Electronic music, what like 80s stuff…?’

The last decade has been in turns brilliant and infuriating for a fan of synth music. The re-emergence of some of my favourite bands producing music of a similar quality to their releases from the height of their fame has been particularly gratifying. The number of excellent new bands that have come through in this time has also been a joy to behold. This is due primarily to the real advances in technology which has allowed anyone with a laptop and a few plugins to make music.

These tools also mean that bands can now play live easier than ever, not needing to haul a van load of keyboards around to replicate their sound. Still however we see folk ‘jazz hands-ing’ live, thinking dressing up in age-inappropriate clothing and dancing around like you are holding in a wee is a live performance… news just in, it’s not…

This of course means you have to wade through tonnes of chaff to find the wheat and ELECTRICITYCLUB.CO.UK has been invaluable in doing a lot of the ‘leg work’ in this task.

The best releases of the last decade would fill a number of Op Ed pieces but standouts include the ‘English Electric’ and ‘The Punishment of Luxury’ albums by OMD, which show that if you stick with what you know the quality will shine through, the ULTRAVOX album ‘Brilliant’ and numerous KITE EPs.

The aforementioned ‘scene’ featured a number of standout releases from the likes of VILE ELECTRODES, ASSEMBLAGE 23 and MESH who let the music do the talking and reaped suitable rewards. These bands and a number of others all show how to conduct yourself in a professional way without fermenting what basically amounts to a hate campaign against those that don’t subscribe to your narrow view of how things are done.

The childishness of certain corners that house a handful of bands and hangers on from the UK has been one aspect of the last 10 years that I personally could do without. These self-proclaimed ‘scene’ gatekeepers have actually done themselves more damage than good.

It’s funny that they think they are all in a self-supporting community when any one of them would throw the others under the bus (a tour one, you can come on-board if you sell 30 tickets to each show, then you can pretend you are an in-demand support) given the chance of a gig with a named act or coverage on this site. This petulance has escalated more recently to thinly veiled racism and this needs to be stomped out, preferably by a big pair of New Rock boots. They need to grow up and concentrate on producing decent music and not poorly thought through opinions.

‘I prefer rogues to imbeciles, because sometimes they take a rest…’ Alexandre Dumas

I have been writing for ELECTRICITYCLUB.CO.UK for around half of its existence and I have had the chance to meet some of my heroes thanks to this association. Highlights include bumping into Imogen Heap who on hearing I had written the ELECTRICITYCLUB.CO.UK review of her ‘Sparks’ album, thanked me for my kind words and asked for a selfie (a proper fan boy moment), recommending soft synths to Martyn Ware and Green Gartside, chatting with John Foxx and seeing quotes from my reviews being used in NO-MAN promotional ads.

You only need to look at the people that give up time to speak to ELECTRICITYCLUB.CO.UK and the PR people that approach ELECTRICITYCLUB.CO.UK for coverage to understand how highly the site, and by extension site founder Chi Ming Lai, is held by the people in the know in the industry. From NEW ORDER to OMD, BLANCMANGE to Midge Ure, various members of JAPAN to HEAVEN 17 all have spoken openly at length about their careers giving insight to the people behind the music we all love.

And what other site can discuss an obscure electronic release by a leading light of the UK Prog movement one minute and chat with Synthesizer Patel the next without missing a beat or it appearing to jar?

‘You’re still in a band… Aren’t you a bit old for that behaviour…?’

I have come back to music this last decade after a considerable time out from writing and performing. I am sure there are a number of folk that wish I had stayed ‘retired’ and I accept that though I will be setting up a website soon called The Electrikery Club to let them all know why they are wrong, I am right and to give some much needed exposure to my mate Colin’s magnum opus recorded on a VL-Tone on his mum’s old Bush tape recorder…

Since returning to the fray, I have toured with some well-known names, played some big festivals both in the UK and further afield (actual festivals, not vanity gigs with 38 bands on the bill in a pub in Peckham), seen folk do questionable things with chicken nuggets and on more than one occasion, almost killed a well-known electronic percussionist and filthy hippy (who may or may not be my son…)

I have spent way way too long listening to subtle mixes of the same song, locked in windowless rooms with my musical compatriot Derek MacDonald and eaten considerably more motorway service station sarnies than is healthy. And you know what, I wouldn’t change one bloody minute of it.

I would even do Glastonbury again with Keith Trigwell and that included watching him dancing and let’s be honest, nobody wants that…

When a week is a long time in politics, a decade publishing music related guff on the web is an eternity… ELECTRICITYCLUB.CO.UK has been around for 10 years and I get the feeling this is really just the start of the journey. Stay on-board, it’s been and will continue to be one hell of a ride

RAINLAND’s ‘Touch’ EP is available as a free download from https://rainland.bandcamp.com/releases




Text by Ian Ferguson
14th March 2020

FORM Interview

Dark synthpop trio FORM are SHELTER’s flamboyant frontman Mark Bebb, Keith Trigwell from DEPECHE MODE tribute act SPEAK & SPELL and noted German producer Rob Dust.

Releasing their debut album ‘defiance + entropy’ last Autumn on Infacted Recordings, home to TORUL and FROZEN PLASMA, their rousing vocals and acute understanding of the sound design delivered an impressive collection of songs and instrumentals.

From the industrial Schaffel of ‘Poison’ to how everything HURTS should have been with ‘Surrender’, ‘defiance + entropy’ told a story which would appeal to enthusiasts of alternative electronica. The trio chatted about the chemistry of FORM

You were busy with your own musical vehicles, so what was the motivation for and genesis of FORM?

Mark: FORM was organic. No grand master plan, just a shared love of dark, electronic music. Stuff and ideas evolved and developed pretty easily really.

Keith: Mark wanted to do something dark and I wanted to write with someone creatively different to myself. It started casually working on ideas from a ‘pool’, and it just flowed, so we quickly started writing fresh tracks from the ground up.

How did you set about making music that was as distinct as possible from SHELTER and DEPECHE MODE?

Keith: Being in a technical / exacting tribute band is as far removed from a free original project as imaginable, so the projects and their reasoning were always going to be separate, but not in a forced way. DM will always be influential, but if the flow of what’s going on in the room is heading one way, it would be stupid to steer it a different way? This is now so much the case that the two projects won’t even share equipment.

Mark: There are no parallels between DM or SHELTER and it was a conscious choice to ensure that happened. Both independent projects are still our love and passion and they are what they are. No value or enjoyment in second grade replication, only in reinvention.

Were there any particular artists or approaches that inspired the concept of FORM?

Mark: Every electronic artist past and present will inevitably influence everything we do, but there’s a vast difference between being inspired by something versus wishing to sound like something. We wanted to forge our own sound using our vast array of influences in whatever ‘form’ that takes

Keith: I think we find inspiration in the fearless attitude of several bands, and the distillation of ideas to something economic. Which is a journey in its own right and there’s an entire history of pioneers in that regard.

Rob: At that time I had made a remix for SHELTER’s ‘iPop’ project with Andy Bell. Mark liked it so much that he really wanted to do something with me. At some point he spoke to me again and told me that he had something new planned and if I wanted to join.

Is this how FORM became a threesome?

Mark: Rob had done some remix work previously and so unions had been forged much earlier and his production prowess speaks for itself. Check out his discography, it’s like an A-Z of dark electronica plus he’s an absolute diamond geezer is our lil Dustmeister.

Keith: To try to self-produce would have been problematic because writing would have been influenced by trying to produce at the same time and production would have been tainted by having written the tracks and heard them a thousand times. I think Rich Silverthorn from MESH knew Rob so Mark spoke to him and we ended up bouncing tracks back and forth. After a few passes, Rob homed in on the sound we wanted and wanted to keep it.

Rob: Mark and Keith send me their demos in advance. I listen to them and we talk on the phone and discuss what could best fit the track. Which feeling we want to transport, what kind of story behind it etc … then I try to add the certain something and to give the mix the necessary power … each one of us knows what he does and can do, so that we work together perfectly and complement each other!

What was the three way creative dynamic?

Keith: Mark and I write the material. I engineer and program it to a point that feels complete yet raw, then commit it to a production process with Rob and wait for the real magic, with different tracks at different stages of completeness. And this process works exceptionally well because it means we have defined areas to focus on, just trust in each other, accept what happens and relax into it. That in itself keeps the creative juices flowing. I think our record is writing and recording four songs in one extended weekend.

Mark: Keith and I write and arrange while Rob produces. The dynamic is fast-paced, mutually one-directional, professionally and personally sound. It’s a very easy combo and one that generates musical ideation at a ridiculous pace. And makes everything very easy and effortless and therefore enjoyable as a process. We each know exactly what are roles are and we each bring to the table and we try not to cross into each other’s arenas too much where at all possible

‘Poison’ wouldn’t have sounded out of place on a MESH album?

Mark: MESH, especially the two Richards are good friends of mine and being compared to them and their musical talents makes me very happy indeed so thank you.

Keith: Yes, I heard that recently, probably because if the offbeat ‘Strict Machine’ bass swing. I saw Richard S recently and we talked about that. As far as I’m concerned, MESH are a real force so it’s a great compliment. Here Chi, have a free snog x

Rob: Why not ?!? … ?

Marc Almond looms on the glam laden ‘Sugar’?

Mark: That’s likely to be down to me now and then frivolously wishing to push the envelope of my gender fluidity. Again, being mentioned in the same breath as a true icon kinda makes me feel all warm and fuzzy inside. You have a knack of doing that Chi. When are you gonna ask me out on a date then lol?

Keith: Yes ‘Sugar’ is an old pool track that came with a dollop of offbeat rock arrogance. But by the time it went through the FORM process, it took the seedy club reflection in what Mark and I have described as a “grubby knickers off” moment. With Mark’s strong lyrical direction and the fearless, unrestrained performance it had that punch.

How did you best integrate the software and hardware available, both vocally and instrumentally?

Mark: We only used vocally and sound-wise just what we felt each track needed and nothing more. That has a two-pronged benefit; a) that being finished songs together quicker with less fuss and b) the melodies and ideas remain fresh and strong as they haven’t been over-produced or unnecessarily tampered with beyond giving them what they need to be complete to us as a unit.

Keith: Yes there was a lot of new synths, equipment and software and we use all of them, but part of the discipline has been to resist switching gear on for the sake of it, otherwise it stops being an expressive process and becomes some strange sort of mental box-ticking exercise.

Rob: I owned tons of synth years ago (end of 90s – early 2000) and sold them to work completely ‘in the box’. For electronic music, it’s perfect in my opinion… so many great software synths and stuff out there… it’s awesome!! But you need a great microphone and gear to record the vocals of course… but that’s it! But it’s true… It’s more fun to work on a real synth…. 😉

What was the idea behind having those untitled instrumental interludes?

Mark: We wanted the listener to be taken in a journey (I know, I hate that cliché too but in this context, it’s true), we wanted the listening experience to be one of seamless and each segue interlude is the connective tissue that interplays and introduces the next movement or feel of the tracks succeeding it.

Keith: For me it’s two reasons. First, some modern albums don’t feel like they document a period or purpose, feeling fragmented or compiled. The interludes join things in a purposeful way. The second reason is down to overcoming the fear of running out of ideas and hoarding them. I wanted to overcome this, to use the ideas, and then just trust the universe to send back more.

‘Infinity’ is one spirited album closer…

Keith: ‘Infinity’ has deep, personal meaning for me, being started with a determination to write about a vivid experience over a couple of nights in 2017, working the musical progression and programming the synths so it gave Mark space. Mark and I discussed the experience in some depth and then we then set about taking the ideas on to what is now my favourite track on ‘defiance + entropy’.

Mark: ‘Infinity’ is basically a song about dying but we tried to produce it in the most emotionally uplifting and joyous way possible. Death is inevitably very much guaranteed and therefore a huge part of life actually. Both ends of the spectrum are tightly interwoven and it’s usually tougher for those left behind. That’s essentially the fundamental sentiment behind that track. Vocally intense for me that one, but most of them are actually come to think of it on ‘defiance + entropy’!

Which tracks from ‘defiance + entropy’ have been your own favourites and why?

Mark: I can’t speak for the guys but for me personally, simply for the emotion and drama injected into them vocally would probably have to be ‘Stranded’, ‘Infinity’ and commercially possibly ‘Override’. I think ‘Surrender’ has a beautiful ambience to it too and quite bitter sweet lyrical content about love and the threat of its loss

Keith: I’m pleased with the whole album, but stand out tracks are ‘Infinity’, ‘Stranded’ because of the sheer performance and statement with ‘Addict’, ‘Poison’ and ‘Override’ for the pace and energy.

Rob: Same as Keith … ?

How have you found launching effectively a new act into the marketplace?

Mark: It’s the easiest thing I’ve ever been a part of. As I mentioned above, the ideas flow at a rate of knots, the guys are incredibly talented at what they do, what’s not to love. We have a fantastic label manager in Torben Schmidt who took a respected punt on us and with the chart positions of ‘Poison’ and the album have reached already have very lovingly and surprisingly validated the fact that there is a lil place in the market for us which is a lovely feeling, way more than we had expected.

Keith: We all did it for the love of dark melodic electronic songs, wanting to do the best we could with no self-inflicted limitations. When there’s that freedom in a group who understand, respect, share and have trust, you end up very quickly benefitting, learning and constantly improving.

Have you been able to social media to your advantage?

Mark: There’s lots of posts flying around and many lovely supportive words of love and support from fellow formlings around the globe coming on-board. Essentially people either like your music or they don’t. We didn’t wanna over-hype anything with FORM and probably won’t. It’s something we would rather be assessed on its musical integrity rather than bells and whistles. Let’s see what happens.

Keith: Yes I think so. We’re in different locations so it’s not like we’re permanently generating content. But because FORM’s has a purpose, we can find things to say about what we’re doing. Once we settle into the whole process, post ‘defiance + entropy’ and playing live we can meaningfully take social media forward in a measured and appropriate way.

What next for FORM? Is this a one-off project?

Rob: I don’t think so… it’s just the beginning… ?

Keith: Live dates are next so there’s some umm’ing and ahh’ing about possible appearances that feel right for us and the label, so I’m looking at live delivery. As the creative process didn’t stop after we sent the album off for mastering, we just kept writing and the next album was more than half written by the time we signed to Infacted. It’s now pretty much written (and named) based on what we collectively found nourishing.

Mark: Probably not allowed to say anything which is exactly why I will as you know, but the second album is already written and recorded… so yes, this year it will be getting produced up by Rob in Berlin and no doubt at some point, just appear when we’re all happy with it. Might be next year or late this year, no pressure though and that’s also what we enjoy with such a supportive label as Infacted with Torben. It will be released when we feel it’s ripe for release.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to FORM

‘defiance + entropy’ is released by Infacted Recordings in CD and digital formats, available from https://infactedrecordings.bandcamp.com/album/defiance-entropy




Text and Interview by Chi Ming Lai
Photos by Mark Poole
4th February 2019


As long as there has been a music business, artists and producers have been forever tinkering with their work.

While often, it’s the single version made for mass consumption through radio play that remains superior and best loved, there are occasions when the album take reigns supreme.

Often there’s a track that is the obvious standout on the long player, but sometimes it can be of a structure that is considered too long for peak time radio where instant gratification is the key. On other occasions, the vision of the track for album consumption is reconsidered following an earlier short form release produced on a more limited budget.

So as a companion list to the earlier 25 Single Versions That Are Better Than The Album Versions listings feature and restricted to one track per artist, here are 25 Album Versions That Are Better Than The Single Versions presented in chronological and then alphabetical order…

GIORGIO From Here To Eternity (1977)

Despite being a hit single, ‘From Here To Eternity’ was actually something of a disjointed disco medley, throwing in a section of the album track ‘Utopia – Me Giorgio’ halfway through. The full six minute ‘From Here To Eternity’ from the long player of the same name was a futuristic slice of electronic dance perfection, with Giorgio Moroder steadily building on his throbbing synth backbone and layers of vocoder punctuated by the steady beats of drummer Keith Forsey.

Available on the GIORGIO album ‘From Here To Eternity’ via Repertoire Records


THE HUMAN LEAGUE Being Boiled (1980)

The original Fast Product single version of ‘Being Boiled’ from 1978 had its own charm, recorded as mono demo which was subsequently released. However, having signed to Virgin Records and with a budget behind them, Messrs Marsh, Oakey and Ware took the opportunity to update their calling card with producer John Leckie for the ‘Travelogue’ album to more fully realise its funky overtones inspired by FUNKADELIC. The end result was fuller and more dynamic.

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


JAPAN Nightporter (1980)

‘Ghosts’ had been an unexpected singles success for JAPAN in 1982 and Virgin Records wanted more of the same with ‘Nightporter’, despite it being already two years old and with the previously unreleased song ‘Some Kind Of Fool’ in the vaults. Trimming the solemn seven minute ivory laden Satie homage was always going to be difficult and the horrific radio edit butchered out the lengthy if vital instrumental climax of melancholic Oberheim OBX strings. Less really does mean less…

Available on the JAPAN album ‘Gentlemen Take Polaroids’ via Virgin Records


SIMPLE MINDS I Travel (1980)

The album version of ‘I Travel’ was only four minutes in the first place, yet original label Arista Records felt the need to chop the track on both single edits it released and neuter its impact. SIMPLE MINDS never fully realised their potential until they signed to Virgin Records and ‘I Travel’ heralded a futuristic art rock phase where the band’s Germanic influences, coupled to synthesized disco aesthetics of Giorgio Moroder, found favour at clubs like The Blitz.

Available on the SIMPLE MINDS album ‘Empires & Dance’ via Virgin Records


KRAFTWERK Computer Love (1981)

Whether ‘Autobahn’, ‘Radio-Activity’, ‘Showroom Dummies’, ‘Trans-Europe Express’, ‘Neon Lights’ or ‘The Robots’, the sheer average length of a KRAFTWERK track made them difficult to apply to the single format and ‘Computer Love’ was no different. A beautifully melodic piece that predicted internet dating and stretched to just under seven minutes with its glorious second half synth solo in its album version, it was like the reel of the film was missing in its edited form.

Available on the KRAFTWERK album ‘Computer World’ via EMI Records


BLANCMANGE Waves (1982)

A UK Top 20 single for BLANCMANGE in 1983, ‘Waves’ was remixed and given an orchestral treatment arranged by Linton Naiff, but it strangely detracted from the bare emotion of the song. Sounding like Scott Walker fronting OMD, with a more basic synthesized construction and a sombre detuned brass line allowed to breathe at the song’s conclusion, the album version sans orchestra was much better. However, the original cut has yet to be reinstated on reissues of the parent long player ‘Happy Families’.

Available on the BLANCMANGE album ‘The Very Best Of’ via Music Club Deluxe


DAF Kebab Träume (1982)

Originally recorded for a 1980 single on Mute Records in more of a band format featuring guitar and hand-played synths, ‘Kebab Träume’ was subsequently reworked by DAF in a more superior fashion under the production supervision of the legendary Conny Plank for their third and final Virgin-era long player ‘Für Immer’. Transforming into something much heavier, the memorable if controversial line “Deutschland, Deutschland, alles ist vorbei!” had more bite on this album version also issued as a single.

Available on the DAF album ‘Für Immer’ via Grönland Records


LUSTANS LAKEJER Läppar Tiger, Ögon Talar (1982)

Sweden’s LUSTANS LAKEJER came to international attention when their third long player ‘En Plats I Solen’ was produced by Richard Barbieri of JAPAN. With its synthesized atmospheres and art funk aspirations not that far off DURAN DURAN, ‘Läppar Tiger, Ögon Talar’ was one of the album’s highlights. But for the later single version produced by Kai Erixon, the band opted for a more laid back swing arrangement punctuated by a brass section, which frankly was not as good as the original.

Available on the LUSTANS LAKEJER album ‘En Plats I Solen’ via Universal Music


GARY NUMAN We Take Mystery (1982)

The single version of ‘We Take Mystery’ which was Gary Numan’s last UK Top 10 hit was too short and the extended 12 inch version was too long, which left the album version from ‘I, Assassin’ as the best take of the song. With its crashing Linn Drum snap and fretless bass with live percussion syncopating on top, this was a dancefloor friendly excursion which concluded with a marvellous additional rhythm guitar breakdown from fretless bassist Pino Palladino.

Available on the GARY NUMAN album ‘I, Assassin’ via Beggars Banquet


VISAGE The Anvil (1982)

Remixed by John Luongo for single release, ‘The Anvil’ ended up as a B-side but while the sound of metal-on-metal was added, it somehow had less presence than the original album version. Possessing far Teutonic tension with some superb guitar work from Midge Ure, metronomic drumming courtesy of Rusty Egan minus his hi-hats, Billy Currie’s superb screaming ARP Odyssey and Dave Formula’s brassy synth riff completed Steve Strange’s tale of debauchery for one of the best ever VISAGE tracks.

Available on the VISAGE album ‘The Anvil’ via Cherry Pop


JOHN FOXX Endlessy (1983)

By 1982, John Foxx has rediscovered his love of early PINK FLOYD, THE BEATLES and psychedelia which manifested itself in ‘Endlessy’. Based around a tom heavy Linn Drum programme, deep cello samples and sitars, it was an interesting if messy experimental romp. Come his third album ‘The Golden Section’ recorded under the helm of producer Zeus B Held, the new version, also released as a revisionist single, was much more focussed with an accessible uptempo electronic euphoria.

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


HEAVEN 17 And That’s No Lie (1984)

A sub-ten minute progressive epic was never going to work as an edited single and with ‘And That’s No Lie’, that’s exactly what happened. The original album version was HEAVEN 17’s ambitious adventure in sound and fusion that threw in everything from abstract sonic experiments, jazz piano, Fairlight samples, the gospel voices of ARFRODIZIAK and an orchestra, plus some excellent live bass and guitar work from John Wilson and Ray Russell respectively.

Available on the HEAVEN 17 album ‘How Men Are’ via Virgin Records


ARCADIA The Flame (1985)

ARCADIA was Simon Le Bon, Nick Rhodes and Roger Taylor’s attempt to be JAPAN during the DURAN DURAN artistic hiatus, but many of the songs from the short-lived side project were smothered in a pond of self-indulgence. One of the highlights though was ‘The Flame’, basically ‘A View To A Kill Part 2’. However for its single release, a neo-acapella intro was applied rather than the frantic percussive beginning of the album version which robbed the song of its tension and impact.

Available on the ARCADIA album ‘So Red The Rose’ via EMI Records


DEAD OR ALIVE My Heart Goes Bang (1985)

Having got DIVINE into the UK charts, Stock Aitken & Waterman gave the same treatment to DEAD OR ALIVE, scoring a No1 with ‘You Spin Me Round’. The resultant album ‘Youthquake’ had a number of excellent tracks including ‘My Heart Goes Bang’ which was ripe single material. But the single remix by regular PWL associate Phil Harding was horrible, throwing in the kitchen sink with voice cut-ups and an overdriven rhythm section which drowned out any merits the song originally had.

Available on the DEAD OR ALIVE album ‘Youthquake’ via Sony Music


NEW ORDER Bizarre Love Triangle (1986)

Inspired by a News Of The World headline, ‘Bizarre Love Triangle’ is one of the best loved NEW ORDER tunes. The rugged self-produced original version that appeared on the ‘Brotherhood’ album was a glorious electronic number with a slight mechanical offbeat and space for Hooky’s distinctive bass. But the version released for 45 RPM consumption was a frustrating, four-to-the-floor remix by Shep Pettibone which took all the character out of the song with a barrage of overdriven percussive samples.

Available on the NEW ORDER album ‘Brotherhood’ via Warner Music


TALK TALK Living In Another World (1986)

Although ‘Living In Another World’ was the best song on ‘The Colour Of Spring’, it was always going to be a tall order to successfully cut its seven minutes in half for single consumption! A fine progressive combination of synthetic strings, piano, Hammond organ, hypnotic bass, acoustic and electric guitars, percolating percussion and harmonica, the TALK TALK sound would have been nothing however without the anguished vocals of Mark Hollis and the production skills of Tim Friese-Greene.

Available on the TALK TALK album ‘The Colour Of Spring’ via EMI Records


CAMOUFLAGE The Great Commandment (1988)

German trio CAMOUFLAGE had a hit with ‘The Great Commandment’ all over the world including the US, with only Britain remaining ambivalent to their industrial flavoured synthpop. As with many singles of the period, it clocked in at just over three minutes but sounded rushed. Come the debut album ’Voices & Images’ and ‘The Great Commandment’ was more fully realised, allowing space to prevail in the one of the best DEPECHE MODE tracks that the Basildon boys never recorded.

Available on the CAMOUFLAGE album ‘Voices & Images’ via Metronome Music


THE BLUE NILE Headlights On The Parade (1989)

Enigmatic Glaswegian trio THE BLUE NILE were never an easy sell to the wider marketplace and the Bob Clearmountain single remix of ‘Headlights On The Parade’ was hopeless, with over a third of the emotively atmospheric number absent for the sake of radio play. The centrepiece of the brilliant ‘Hats’ album, its haunting piano, swaths of synths and a collage of modulated sequences needed a full six minutes to truly convey its solemn drive and rainy cinematic melodrama.

Available on THE BLUE NILE album ‘Hats’ via Epstein Records


THE GRID Floatation (1990)

Subsonically remixed by Andrew Weatherall with a distinct chilled-out flavour and an additional vocal from Sacha Souter for single release, the brilliant album version of ‘Floatation’ had a more rigid KRAFTWERK feel echoing elements of ‘Tour De France’. And as the track drew towards the home straight, Julian Stringle’s clarinet brought to mind the aesthetics of Dave Ball’s previous residency in SOFT CELL. But while those woodwind textures were present in the single, they were less effective overall.

Available on THE GRID album ‘Electric Head’ via Cherry Red Records


PET SHOP BOYS Being Boring (1990)

Partly inspired by a quote about Zelda Fitzgerald, novelist and wife of author F Scott Fitzgerald which stated “she refused to be bored chiefly because she wasn’t boring”, ‘Being Boring’ is one of PET SHOP BOYS’ best songs, reflecting on Neil Tennant’s youth and the loss of a friend who died of AIDS. While the single itself was almost five minutes long, the superior album version featured a fabulous intro that steadily built with a lilting synth bassline and wah-wah guitar that made the most of the song’s elegiac aura.

Available on the PET SHOP BOYS album ‘Behaviour’ via EMI Records


DEPECHE MODE In Your Room (1993)

A tedious rockist statement by DEPECHE MODE when reworked by Butch Vig for single release, the lengthy original album version of ‘In Your Room’ was widescreen magnificence with a tense percussive drive courtesy of Alan Wilder who only played what was needed, adding a second simplistic drum passage in the final half for extra weight. A fine example of how feel is more important technique, current DM drumhead Christian Eigner managed to mess up his opportunity to shine on this during the ‘Global Spirit’ tour.

Available on the DEPECHE MODE album ‘Songs Of Faith & Devotion’ via Sony Music


LADYTRON Evil (2003)

The second LADYTRON album ‘Light & Magic’ is probably best known for its lead single ‘Seventeen’, but opening its second half was the brilliantly propulsive ‘Evil’. An obvious single, when remixed by noted dance producer Ewan Pearson, it was filled out with extra string synths and made more contemporary. This lost the track its appealing spatial dynamics and grunt while the way in which the vocals of Helen Marnie were mixed more than muted her charm.

Available on the LADYTRON album ‘Light & Magic’ via Nettwerk productions


ARTHUR & MARTHA Autovia (2009)

ARTHUR & MARTHA were Adam Cresswell and Alice Hubley; their debut single ‘Autovia’ was the first release on Happy Robots Records in 2008 but when it came to recording the album ‘Navigation’, the incessant Doctor Rhythm drum machine was given a more hypnotic Motorik makeover which ironically gave the track more drive. Meanwhile, there was an extended end section which allowed for some cosmic Theremin and synth wig-outs between the pair not unlike STEREOLAB meeting NEU!

Available on the ARTHUR & MARTHA album ‘Navigation’ via Happy Robots Records


MESH Adjust Your Set (2013)

From MESH’s best album ‘Automation Baby’, the wonderfully metronomic ‘Adjust Your Set’ with its personal relationship commentary in a technology dominated world was one of its many highlights. Given a more orchestrated remix by Nico Wieditz for the MaBose Radio-Edit with a much busier electronic bassline along the lines of ‘Enjoy The Silence’, while this single version had more obvious presence, it lacked the eerie cinematic Morricone-esque air of the album original.

Available on the MESH album ‘Automation Baby’ via Dependent Records


GOLDFRAPP Ocean (2017)

‘Ocean’ was already dramatic perfection as the best track on the seventh GOLDFRAPP album ‘Silver Eye’, but for the single version, it was felt a contribution from a former member of the  Mute family was needed. While Devotees were wetting themselves over Dave Gahan appearing on a more obviously electronic sounding track again, his faux bluesy drawl was something of a mismatch next to the breathy angelic tones of Alison Goldfrapp. Gahan may be from Essex but he was certainly no Alison Moyet.

Available on the GOLDFRAPP album ‘Silver Eye’ via Mute Artists


Text by Chi Ming Lai
2nd January 2019

FORM defiance + entropy

With twelve tracks over just under an hour, ‘defiance + entropy’ is a remarkably ambitious artistic statement for a debut long player.

FORM are SHELTER’s flamboyant frontman Mark Bebb, Keith Trigwell – the production mastermind behind DEPECHE MODE tribute act SPEAK & SPELL and noted German producer Rob Dust whose credits include ALPHAVILLE, CAMOUFLAGE, DE/VISION, MESH, TORUL, CHROM and FRONT 242.

Basically, if you like your dark flavoured melodic synthpop, then FORM are the band for you.

Beginning with ‘Prelude 47’, this is a Depeche flavoured instrumental that crosses elements of ‘Christmas Island’ and ‘Ice Machine’ while demonstrating Trigwell’s acute understanding of the sound design behind DEPECHE MODE. And as Gahan, Gore and Fletcher can’t be bothered to sound like this anymore, then someone else should be able to take up the mantle.

With the rugged ‘Override’, there are shadier dynamics but also rousing vocals and danceable rhythms without dumbing down the set-piece. Meanwhile, the industrial Schaffel of ‘Poison’ sees Bebb adopt a lower register than many would be used to from SHELTER. Almost machine-like and deadpan but effective, with a fabulously catchy chorus, this is a track that MESH would be proud to call one of their own.

‘Surrender’ with its digital claps and deep Eurocentric atmosphere is everything HURTS should have been after ‘Wonderful Life’; it’s a much edgier proposition than the BROS Go To Bavaria stance that Theo and Adam adopted and a Speak & Spell machine even makes its presence felt to add a strange dystopian quality.

There’s some real intensity to ‘Enough’, while the haunting epic of ‘Stranded’ is the darkest ERASURE song that Andy Bell and Vince  Clarke never recorded. With elements of ‘Running Up That Hill’ slowed to a canter, Bebb belts his heart out over a rumbling percussive backbone, but double tracked to his own whisper to create that air of mystery which loomed on THE DOORS ‘Riders on the Storm’.

A relative of ‘Poison’, ‘Sugar’ has a more frantic 6/8 pace like an electro-glam ERASURE. Borrowing a few sounds derived from ‘Some Great Reward’, ‘Lies’ utilises further use of the swung Schaffel rhythms again as does ‘Fire’, a track which boasts an amazing swirling synth solo to behold.

‘Everlasting’ is perhaps the moment which is closest to SHELTER as a pure thrusting synthpop moment. More four-to-the-floor, ‘Addict’ penetrates the mind with its pulsing bass and wild synth lines.

A rich piano dressed ballad ‘Infinity’ closes ‘defiance + entropy’ and echoes SHELTER’s recent album ‘Soar’, something that is highly appropriate as Bebb’s vocal certainly does that while Trigwell’s swooping solo provides another highlight on this cinematic epic.

In common with a number of MESH albums, there are various instrumental interludes segued into the tracklisting; ranging from RECOIL inspired soundscapes and discordant doom laden romps, these largely work. But the final hidden track which comprises of Numan-esque rumbles and schizo voices for that horror movie effect, while interesting, sticks out like a sore thumb and sonically sounds out of place with the rest of the long player.

‘defiance + entropy’ is impressive, if a bit long and probably could have done with one less song, one less interlude and the hidden track.

But this is a debut that has a good number of excellent songs that should scare the competent if slightly stagnant German alternative electronica scene, who have been peddling the loop laden 6/8 darkness for over 20 years and really need a rocket up their software.

‘defiance + entropy’ uses the following synthesizers: Minimoog Model D, Sequential Prophet 6, Dave Smith Instruments Pro-2, Moog Sub-37, Arturia V-Collection 5, Native Instruments Komplete 11, Native Instruments Maschine Studio, SynthMaster Collection, AJL VProm LinnDrum LM-2

‘defiance + entropy’ is released by Infacted Recordings in digital formats, available direct from https://infactedrecordings.bandcamp.com/album/defiance-entropy while the CD can be obtained from http://www.poponaut.de/form-defiance-entropy-p-18037.html




Text by Chi Ming Lai
26th October 2018

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