Tag: Nation Of Language (Page 1 of 2)

NATION OF LANGUAGE Live at Lafayette

The rise of New York-based trio NATION OF LANGUAGE has been steady but as 2021 concluded, the UK took a keen interest, thanks to championing by BBC 6 Music.

This resulted in a sell-out 2022 British tour and an extra date at XOYO on the London leg after a premiere capital appearance in the more modest confines of Lafayette. However, the intimate surroundings of the latter was the perfect venue to showcase their sharp synthy spirit fused with a notion of anguish.

Front man Ian Devaney became interested in using synths after hearing OMD’s ‘Electricity’ in his father’s car. There is a distinct Northern Englishness about NATION OF LANGUAGE that also takes in JOY DIVISION while a Germanic precision can be identified in their rhythm construction.

It was no big surprise that an extremely warm welcome greeted the trio in London, with attendees ranging from beard hipsters and cool indie girls to middle aged bald men who might have worn long raincoats in their student days. Swathed in sequencers and electronic effect, ‘Rush & Fever’ from the debut album ‘Introduction, Presence’ opened the hour long set.

The evening’s styles varied from the wistful OMD atmospherics of ‘Wounds Of Love’ to the frantic NEU! gone post-punk thrash of ‘Across That Fine Line’.

The excellent if blatant NEW ORDER homage ‘On Division St’ got the first big cheer of the evening and sounded even more like ‘Bizarre Love Triangle’ live while with a hint of a more intense A-HA, there was the glorious electronic pop of ‘Friend Machine’ which examined society’s addiction to technology.

NATION OF LANGUAGE have an unusual stage dynamic that just works; Ian Devaney is anxious and energetic with the persona of someone who has been sacked from the much-missed MIRRORS for wearing a T-shirt. Meanwhile his wife Aidan Noell is the sexy synth minx who could easily be running a Brooklyn fashion boutique and rock solid bassist Michael Sui-Poi looks as if he belongs in an alternative rock band.

The second NATION OF LANGUAGE album is appropriately titled ‘A Way Forward’, but despite the cautious optimism from the future, it has been the songs such as ‘The Grey Commute’ and ‘This Fractured Mind’ that have connected to the reality of recent times for audiences. The former paid tribute to ULTRAVOX! and KRAFTWERK with hypnotic mechanised rhythms and octave laden backdrop, while the latter to cheers of approval has been the best song of 2021 for many with its incessant Motorik drive and catchy synth hooks.

Encoring with a great bleep ‘n’ buzz cover of THE PIXIES’ ‘Gouge Away’ that was no less agitated than the original, ‘The Wall & I’ closed proceedings as it did on ‘Introduction, Presence’.

Reminding the wider musical world that synths and drum machines can sit next to bass guitar for an absorbing danceable pop sound without any loss of soul or emotion, NATION OF LANGUAGE partied like it was 1980 and delivered with an enjoyable musical escape following a down trodden few months of uncertainty for all.

An engaging and spirited performance, the next time that NATION OF LANGUAGE tour the UK, you can be sure they will be playing much bigger venues.


‘A Way Forward’ is available in CD and vinyl LP formats, download available from https://nationoflanguage.bandcamp.com/album/a-way-forward

https://www.nationoflanguage.com/

https://www.facebook.com/nationoflanguage

https://twitter.com/notionofanguish

https://www.instagram.com/nationoflanguage/


Text and Photos by Chi Ming Lai
4th February 2022

2021 End Of Year Review

As the world steadily emerged from a painful pandemic that put many lives on hold, nostalgia appeared to be the commodity most in demand as the music industry took steps to recover.

No matter which era, anything musically from the past was more desirable that anything that reminded the public of the past 20 or so months. The first escape destination in the summer for many restricted to staying on their own shores were the established retro festivals.

Meanwhile television provided an array of documentaries ranging from chart rundowns of past decades and informative classic song analysis on Channel 5 to Dylan Jones’ look at ‘Music’s Greatest Decade’ on BBC2 and Sky Arts’ ‘Blitzed’ with all the usual suspects such as Boy George, Philip Sallon, Marilyn, Gary Kemp and Rusty Egan.

SPARKS had their own comprehensive if slightly overlong film ‘The SPARKS Brothers’ directed by Edgar Wright, but the Maels’ musical ‘Annette’ starring Adam Driver was a step too far. Meanwhile the acclaimed ‘Sisters With Transistors’ presented the largely untold story of electronic music’s female pioneers.

It was big business for 40th anniversary live celebrations from the likes of HEAVEN 17, THE HUMAN LEAGUE, OMD and SOFT CELL, while other veterans such as NEW ORDER and ERASURE returned to the live circuit with the biggest indoor headlining shows of their career.

Meanwhile for 2022, Midge Ure announced an extensive ‘Voices & Visions’ tour to present material from the 1981-82 phase of ULTRAVOX.

Also next year and all being well, GOLDFRAPP will finally get their belated 20th Anniversary tour for their marvellous debut ‘Felt Mountain’ underway while there are rescheduled ‘Greatest Hits’ live presentations for PET SHOP BOYS and SIMPLE MINDS.

Always money for old rope, but also giving audiences who missed them at their pioneering height an opportunity to catch up, ‘best of’ collections were issued by YELLO and TELEX while JAPAN had their 1979 breakthrough album ‘Quiet Life’ given the lavish boxed set treatment. Meanwhile, while many labels were still doing their best to kill off CD, there was the puzzling wide scale return of the compact cassette, a poor quality carrier even at the zenith of its popularity.

“Reissue! Repackage! Repackage! Re-evaluate the songs! Double-pack with a photograph, extra track and a tacky badge!” a disgraced Northern English philosopher once bemoaned.

The boosted market for deluxe boxed sets and the repackaging of classic albums in coloured vinyl meant that the major corporations such as Universal, Sony and Warners hogged the pressing plants, leaving independent artists with lead times of nearly a year for delivery if they were lucky.

But there was new music in 2021. Having achieved the milestone of four decades as a recording act, DURAN DURAN worked with Giorgio Moroder on the appropriately titled ‘Future Past’ while not far behind, BLANCMANGE took a ‘Commercial Break’ and FIAT LUX explored ‘Twisted Culture’. David Cicero made his belated return to music with a mature second album that was about ‘Today’ as Steven Jones & Logan Sky focussed on the monochromatic mood of ‘European Lovers’. Continuing the European theme but towards the former Eastern Bloc, Mark Reeder gave a reminder that he was once declared ‘Subversiv-Dekadent’ and fellow Mancunians UNE became inspired by the ‘Spomenik’ monoliths commissioned by Marshal Tito in the former Yugoslavia.

For those who preferred to immerse themselves in the darker present, Gary Numan presented ‘Intruder’, a poignant concept album produced by Ade Fenton about Mother Earth creating a virus to teach mankind a lesson! Meanwhile ITALOCONNECTION, the project of Italo veterans Fred Ventura and Paolo Gozzetti teamed up with French superstar Etienne Daho to tell the story of ‘Virus X’! The video of the year came from UNIFY SEPARATE whose motivation message to ‘Embrace The Fear’ despite the uncertainty reflected the thoughts of many.

Despite the general appetite for nostalgia, there was some excellent new music released from less established artists with the album of the year coming from Jorja Chalmers and her ‘Midnight Train’ released on Italians Do It Better. The critical acclaim for the UK based Aussie’s second long playing solo offering made up for the disbandment of the label’s biggest act CHROMATICS, as it went into its most prolific release schedule in its history with albums by GLÜME, JOON, DLINA VOLNY and LOVE OBJECT as well as its own self-titled compilation of in-house Madonna covers.

As Kat Von D teamed up with Dan Haigh of GUNSHIP for her debut solo record ‘Love Made Me Do It’, acts like DANZ CM, CLASS ACTRESS, GLITBITER, PRIMO THE ALIEN, PARALLELS, KANGA, R.MISSING, I AM SNOW ANGEL, XENO & OAKLANDER, HELIX and DAWN TO DAWN showed that North America was still the creative hub as far as electronically derived pop songs went.

Attracting a lot of attention in 2021 were NATION OF LANGUAGE, who with their catchy blend of angst, melody and motorik beats welcomed synths as family in their evolving sound while also providing the song of the year in ‘This Fractured Mind’, reflecting the anxieties of these strange times. At the other end of the spectrum, DIAMOND FIELD went full pop with an optimistic multi-vocalist collection that captured the spirit of early MTV while BUNNY X looked back on their high school days with ‘Young & In Love’.

ACTORS delivered their most synthy album yet while as LEATHERS, they keyboardist Shannon Hamment went the full hog for her debut solo effort ‘Reckless’. FRONT LINE ASSEMBLY released a new album and some of that ‘Mechanical Soul’ was brought by their Rhys Fulber into his productions this year for AESTHETIC PERFECTION.

In Europe, long playing debuts came from PISTON DAMP and WE ARE REPLICA while NORTHERN LITE released their first album completely in German and FRAGRANCE. presented their second album ‘Salt Air’. There was also the welcome return of SIN COS TAN, KID KASIO, GUSGUS, MARVA VON THEO, TINY MAGNETIC PETS and MAN WITHOUT COUNTRY.

Featuring second generation members of NEW ORDER and SECTION 25, SEA FEVER released their eclectic debut ‘Folding Lines’ as fellow Mancunian LONELADY added sequencers and drum machines to her post-punk funk template. But Glasgow’s CHVRCHES disappointed with their fourth long player ‘Screen Violence’ by opting to sound like every other tired hipster band infesting the land.

The most promising artist to breakthrough in 2021 was Hattie Cooke whose application of traditional songwriting nous to self-production and arrangement techniques using comparatively basic tools such as GarageBand found a wider audience via her third album ‘Bliss Land’. In all, it was a strong year for female synth-friendly artists with impressive albums from Karin My, Laura Dre, Alina Valentina, Robin Hatch and Catherine Moan while comparative veterans like Fifi Rong, Alice Hubble, Brigitte Handley and Alison Lewis as ZANIAS maintained their cult popularity.

In 2021, sometimes words were very unnecessary and there were fine instrumental synth albums from BETAMAXX, WAVESHAPER, КЛЕТ and Richard Barbieri, with a Mercury nomination received by Hannah Peel for ‘Fir Wave’. But for those who preferred Italo Noir, popwave, post-punk techno and progressive pop, Tobias Bernstrup, Michael Oakley, Eric Random and Steven Wilson delivered the goods respectively.

With ‘The Never Ending’ being billed as the final FM ATTACK album and PERTURBATOR incorrectly paraphrased by Metal Hammer in a controversial “synthwave is dead” declaration, the community got itself in a pickle by simultaneously attacking THE WEEKND for “stealing from synthwave”, yet wanting to ride on the coat tails of Abel Tesfaye, misguidedly sensing an opportunity to snare new fans for their own music projects.

With THE WEEKND’s most recent single ‘Take My Breath’, there was the outcry over the use of a four note arpeggio allegedly sampled from MAKEUP & VANITY SET’s ‘The Last City’. But as one online observer put it, “Wow, an arpeggiated minor chord. Hate to break it to you but you might want to check out what Giorgio Moroder was doing 50 years ago. We’re ALL just rippin’ him off if that’s how you think creativity works”. Another added “If a four note minor key arpeggiated chord can go to court on the basis of copyright law, we are in for a hell of a few years my synthy friends”. It outlined once again that there are some who are still under the impression that music using synths was invented by Ryan Gosling in 2011 for ‘Drive’ soundtrack ??

There were also belated complaints that 2019’s A-HA inspired ‘Blinding Lights’ had a simple melody and needed five writers to realise it… but then, so did UTRAVOX’s ‘Slow Motion’ and DURAN DURAN’s ‘Rio’! Collaboration, whether in bands, with producers or even outsiders has always been a key aspect of the compositional process. If it is THAT simple, do it yourself! As Andy McCluskey of OMD said on ‘Synth Britannia’ in 2009 about the pioneering era when Ryan Gosling was still in nappies: “The number of people who thought that the equipment wrote the song for you: ‘well anybody can do it with the equipment you’ve got!’ “F*** OFF!!”

Over the last two years, THE WEEKND has become the biggest mainstream pop act on the planet, thanks to spectacles such as the impressive gothic theatre of the Super Bowl LV half time showcase while in a special performance on the BRITS, there was a charming presentation of the ERASURE-ish ‘Save Your Tears’ where he played air synth in a moment relatable to many. But everything is ultimately down to catchy songs, regardless of synth usage.

So ELECTRICITYCLUB.CO.UK would like to present a hypothetical case to consider… if someone uses the arpeggio function with a sparkling patch from a Juno 6 synth in a recording, does Cyndi Lauper sue for infringing the copyright of ‘All Through The Night’ or the original songwriter Jules Shear or even the Roland Corporation themselves as they created it? More than one producer has suggested that THE WEEKND’s soundbite came from a hardware preset or more than likely, a software sample pack, of which there are now many.

However, sample culture had hit another new low when Tracklib marketed a package as “A real game-changer for sample based music. Now everyone can afford to clear samples” with rapper and producer Erick Sermon declaring “Yo, this is incredible. They’re trying to put creativity back into music again. By having samples you can actually pay for and afford”.

Err creativity? How about writing your own songs and playing or even programming YOUR OWN instrumentation??!?

One sampling enthusiast even declared “I might go as far as to say you don’t really like dance music if you’ve got a problem with adding a beat to a huge (even instantly recognizable) sample”… well guess what? ELECTRICITYCLUB.CO.UK LOATHES IT!!! ?

In 2021, music promotion became a bit strange with publicists at all levels keen more than ever to have their clients’ press releases just cut ‘n’ pasted onto online platforms, but very reluctant to allow albums to be reviewed in advance in the event of a potential negative prognosis.

While cut ‘n’ paste journalism has been a disease that has always afflicted online media, in a sad sign of the times, one long established international website moved to a “pay to get your press release featured” business model.

The emergence of reaction vloggers was another bizarre development while the “Mention your favourite artist and see if they respond to you” posts on social media only added more wood to the dumbing down bonfire already existing within audience engagement.

It was as if the wider public was no longer interested in more in-depth analysis while many artists turned their publicity into a reliance on others doing “big ups” via Twitter and Facebook. But then, if artists are being successfully crowdfunded with subscriptions via Patreon, Kickstarter, Bandcamp and the like, do they need a media intermediary any longer as they are dealing direct with their fanbases?

However, it wasn’t all bad in the media with ‘Electronically Yours With Martyn Ware’ providing insightful artist interviews and the largely entertaining ‘Beyond Synth’ podcast celebrating its 300th show. Due to their own music commitments, Steven Wilson and Tim Bowness were less prolific with their discussion show ‘The Album Years’ but it was still refreshing for commentators to be able to say that a record was sh*t when it actually was, rather than conform to the modern day adage that all music is good but not always to the listener’s taste!  And while various programmes came and went, other such as ‘Operating//Generating’, ‘KZL Live’ and ‘Absynth’ came to prominence.

Post-pandemic, interesting if uncertain times are ahead within the music industry. But as live performance returns, while the mainstream is likely to hit the crowd walking, will there be enough cost effective venues to host independent artists? Things have been tough but for some, but things might be about to get even tougher.

However, music was what got many through the last 18 months and as times are still uncertain, music in its live variant will help to get everyone through the next year and a half and beyond.


ELECTRICITYCLUB.CO.UK’s year in music is gathered in its 2021 Playlist – Missing U at
https://open.spotify.com/playlist/4rlJgJhiGkOw8q2JcunJfw


Text by Chi Ming Lai
17th December 2021

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2021

Despite the general appetite for nostalgia with boxed sets and coloured vinyl of classic albums hogging the pressing plants, there was a lot of excellent new music released in 2021.

The quality of individual tracks released in 2021 was extremely high but at the end of the day, only 30 songs can be selected as a snapshot of the calendar year. As Monica Geller in ‘Friends’ once said, “Rules are good, rules help control the fun” – rules, routine and structure = creativity and fun ?

So the highly commended group who did not quite make ELECTRICITYCLUB.CO.UK’s 30 songs of 2021 includes Tobias Bernstrup, David Cicero, Alice Hubble, Michael Oakley, Jason Priest, Nina, Eric Random and Kat Von D’s duet with Peter Murphy, along with SIN COS TAN, FIAT LUX, LONELADY, GLITBITER, KNIGHT$, PEAKES, DESIRE, SOFTWAVE, XENO & OAKLANDER, BUNNY X, PISTON DAMP, FRAGRANCE. and HANTE.

So here are ELECTRICITYCLUB.CO.UK’s 30 songs of 2021, presented as usual alphabetically by act with a restriction of one song per artist moniker.


ACTORS Love U More

Thanks to the recruitment of new bassist Kendall Wooding, the male-to-female ratio of ACTORS has equalled up and altered their dynamic. The vocal duality between guitarist Jason Corbett and keyboardist Shannon Hemmett aka LEATHERS takes an increased role in the band’s developing sound. With the brooding baritone counterpointed by girly soprano and male falsetto to provide an uneasy uplift to the gloomy domino dance, ‘Love U More’ was a statement of intent like a goth DURAN DURAN with metronomic rhythms and eerie synths.

Available on the album ‘Acts Of Worship’ via Artoffact Records

https://www.actorstheband.com/


BAND ELECTRONICA featuring MIDGE URE Das Beat

Midge Ure finally launched his BAND ELECTRONICA project as a recording entity with ‘Das Beat’, a glorious slice of Teutonic robopop in collaboration with Wolfgang Flür. With “Beats through wires, beats through walls”, the icy motorik bossa nova was complimented by a blisteringly catchy synth hook in the classic Kling Klang tradition and harked back the Glaswegian’s days hearing KRAFTWERK at The Blitz Club and making music with VISAGE and ULTRAVOX. Dancing is a given to the synthesizer rhythm.

Available on the single ‘Das Beat’ via BMG Rights Management

http://www.midgeure.co.uk/


JORJA CHALMERS Rhapsody

Although a seasoned musician as the sax and keyboard player for Bryan Ferry over the past 10 years, Australian multi-instrumentalist Jorja Chalmers did not release her first album until 2019. The superb take on SIOUXSIE & THE BANSHEES ‘Rhapsody’, an orchestrated gothic epic off their ninth album ‘Peepshow’, featured an intriguing electronic warble within its stripped down arrangement. From its claustrophobic cocoon, Chalmers sounded trapped inside an unsettling icy soundscape of synthetic strings and choirs.

Available on the album ‘Midnight Train’ via Italians Do it Better

https://www.instagram.com/jorjachalmers/


CLASS ACTRESS Saint Patrick

CLASS ACTRESS is the nom de théâtre of one-time Giorgio Moroder protégée Elizabeth Harper. Releasing a new EP ‘Sense Memory’ which initially featured three cover including THE SMITHS’ ‘Ask’ but steadily expanded with new material, the percussive ‘Saint Patrick’ featured an array of infectious synth hooks while Harper’s richly passionate vocal over some strident keyboard work combined like Nerina Pallot fronting BOY HARSHER for a brilliant slice of modern electronic pop.

Available on the EP ‘Sense Memory’ via Terrible Records

https://classactress.com/


HATTIE COOKE I Get By

Perhaps more intentionally pop than Hattie Cooke has ever been before on her previous two long playing outings, an intimate gravitas comes with the expanded electronic texturing on her third album ‘Bliss Land’ and this is undoubtedly stamped on its opening song. The hypnotic ‘I Get By’ was superb with ringing hooks, sweeping soundscapes and airy understated vocals that wouldn’t have sounded out of place on an Italians Do It Better ‘After Dark’ compilation.

Available on the album ‘Bliss Land’ via Castles In Space

https://twitter.com/hattiecooke


DANZ CM Human Existence

‘The Absurdity of Human Existence’ is the debut album by DANZ CM, the artist formally known as COMPUTER MAGIC. New York based Danz Johnson is the synth girl behind both vehicles with a passion for the development of the electronic music. Reflecting the album’s title, the total melancholic brilliance of ‘Human Existence’ sees our heroine make a sombre declaration that “you can’t save me, I can’t save you” in a manner reminiscent of CHROMATICS meeting OMD.

Available on the album ‘The Absurdity Of Human Existence’ via Channel 9 Records

https://www.zdanz.com/


DAWN TO DAWN Care

Danceable dreampop trio DAWN TO DAWN feature in its line-up Tess Roby who released her debut album ‘Beacon’ on Italians Do It Better. Also featuring Adam Ohr and Patrick Lee with their Minimoog, Roland System 100, Roland Juno 60 and Korg 700s armoury, ’Care’ was written on a cold winter’s night and unsurprisingly captures that mood. Nocturnal yet rhythmic, Roby’s alluring folk-tinged vocal offsets the various synthetic overtures for a mysterious weightless quality.

Available on the single ‘Care’ via https://dawntodawn.bandcamp.com/track/care

https://www.facebook.com/dawntodawnmusic


DEVOIR Mercer

Leeds based duo DEVOIR comprise of Imogen Holmes who released the impressive ‘Lines’ EP as IMI and Jacob Marston. A product of lockdown, although ‘Mercer’ is entirely electronic, it differs slightly from IMI in its four-to-the-floor construction. So imagine GOLDFRAPP at an Alpine rave in the Hornlihutte basecamp next to The Matterhorn. As the cinematic techno builds, the magnificent voice that graced IMI soars and shines, expressing itself at the extremes of alluring spoken word and piercing high soprano.

Available on the single ‘Mercer’

https://www.facebook.com/wearedevoir


DIAMOND FIELD feat BELINDA BRADLEY A Kiss Apart

DIAMOND FIELD is the musical vehicle of Andy Diamond, the New York based Kiwi who, looks to studio icons such as Hugh Padgham, Rupert Hine and Peter Wolf as his heroes. With a backing track like NEW ORDER’s ‘Your Silent Face’ reworked by OMD, ‘A Kiss Apart’ is superb and sees a velvet performance by Belinda Bradley of New Zealand collective SELON RECLINER; akin to the other Belinda, Ms Carlisle crossed with Marcella Detroit there is a gorgeous chorus and some great synth interventions recalling lost Mute trio PEACH.

Available on the album ‘Diamond Field’ via Sofa King

https://diamondfieldmusic.com/


DLINA VOLNY Bipolar

Inspired by the spectre of the former Soviet Union, Minsk trio DLINA VOLNY explore post-punk with a dance beat not unlike NEW ORDER. Having already had two albums already under their belt and singing in English with an inherent Eastern Bloc gloom in Masha Zinevitch’s vocals throughout their Italians Do It Better period, their fifth single for the label ‘Bipolar’ was dark disco with plenty of synth and mystery that asked “But what is it like being on the border?”.

Available on the album ‘Dazed’ via Italians Do It Better

https://www.instagram.com/dlina_volny/


LAURA DRE All Day, All Night

With her mix of modern synthpop and synthwave coupled to her deep nonchalant vocals, Laura Dre captures the rainy dystopian air of ‘Blade Runner’, but with a sexy enigmatic allure and a mischievously wired groove that wouldn’t go amiss in a West Berlin nightclub. The glorious uptempo disco number ‘All Day, All Night’ offers great crossover potential; drenched in sparkle and a delicious percussive base. It’s a number for fans of early PET SHOP BOYS, complete with a classic Tennant / Lowe styled instrumental middle eight.

Available on the album ‘Moving Spaces’ via Outland Recordings

https://lauradre.com/


DURAN DURAN Featuring CHAI More Joy!

Celebrating 40 years as recording artists, DURAN DURAN released their 15th studio album ‘Future Past’ in a “live for the moment” reference of how something today can become a cherished memory in times to come. The chiptune inspired ‘More Joy!’ was reminiscent of past glories, its syncopated disco poise capturing DURAN DURAN at what they do best and with hypnotic electronics offset by a wonderful bass guitar run and chants by Japanese rock band CHAI, its exuberant manner presented the right dose of escapism.

Available on the album ‘Future Past’ via Tape Modern / BMG

http://www.duranduran.com/


GLÜME Get Low

Like a tattooed Marilyn Monroe dropped into Twin Peaks, GLÜME is a shimmering new starlet in the Italians Do It Better stable. From her debut album ‘The Internet’, ‘Get Low’ was an intriguing slice of accessible avant pop about the high of falling for someone where brain chemistry and nervous systems are affected. Applying some rumbling electronic bass, stabbing vintage synths and simple but prominent digital drum beats, ‘Get Low’ sounded not unlike an experimental hybrid of OMD and LADYTRON!

Available on the album ‘The Internet’ via Italians Do It Better

https://www.facebook.com/babyglume


ROBIN HATCH Airplane

Made using the T.O.N.T.O. synth complex created Malcom Cecil and Robert Margouleff which was made famous by Stevie Wonder, the same titled album is the fifth solo body of work by the Toronto-based neoclassical composer and multi-instrumentalist Robin Hatch. The sinister ‘Airplane’ took shape around an avant garde soundscape. Utilising the talents of doom metal violinist Laura Bates of VOLUR alongside the synthetic strings and hypnotic generative blips, this encapsulated an unsettling gothic grandeur.

Available on the album ‘T.O.N.T.O.’ via Robin Records

https://twitter.com/robinhatch


ITALOCONNECTION featuring ETIENNE DAHO Virus X

For Italian musician veterans Fred Ventura and Paolo Gozzetti, the ethos of ITALOCONNECTION is “to sound vintage in a modern way”. The superb ‘Virus X’ featuring French veteran Etienne Daho sprung a surprise as a suave slice of Gallic synthwave. With its downbeat verse and an emotive chorus, this was as a fitting musical document of the past year and half’s tensions while using toxic personal relationships as a poignant lyrical analogy.

Available on the album ‘Midnight Confessions Vol1’ via Bordello A Parigi

https://www.facebook.com/italoconnection


JAKUZI Hiç Işık Yok

Hailing from Turkey, JAKUZI’s Italo flavoured song ‘Hiç Işık Yok’ saw the usual cowbells substituted by processed pots and pans, while the mix of classic brassy tones and chilling synth pads blended to create something rather unusual and extraordinary. Working with Maurizio Baggio who mixed the most recent albums by BOY HARSHER and THE SOFT MOON, the Italian producer turned what had been a gothic futureless mood piece with a sombre vocal intonation into a dark but catchy electronic disco number.

Available on the EP ‘Açık Bir Yara’ via City Slang

https://www.facebook.com/jakuz1/


JOON Good Times

2021 was a year craving for more ‘Good Times’ and JOON, the electronic solo project from Maltese producer Yasmin Kuymizakis did her best to remember them. Another recent signing to Italians Do It Better, she reflected on “The way you sing your songs and make me dance, the way you take a chance on a little romance” before affirming “You remind me of the good times”. It all captured a charming innocence in a dreamy Mediterranean take on Japanese City Pop.

Available on the album ‘Dream Again’ via Italians Do It Better

https://www.templeofjoon.com/


КЛЕТ Eternity

КЛЕТ is a music project of Bohemian-born composer and producer Michal Trávníček. Primarily celebrating the Soviet space programme with its impressive series of firsts, while the ‘Alconaut’ album’s pivotal track was its opener ‘Gagarin’s Start’ which honoured the handsome hero who was the first man in space as he prepared for lift-off, the spacey Sovietwave mood over 13 tracks made for an enticing listen. The sparkling sparseness of ‘Eternity’ with its stuttering vintage drum machine provided another highlight.

Available on the album ‘Alconaut’ via https://claat.bandcamp.com/album/

https://www.instagram.com/kletwave/


LEATHERS Reckless

LEATHERS is the more synth focussed solo project from ACTORS keyboardist Shannon Hemmett. The undoubted highlight of her debut ‘Reckless’ EP was the title song. Resigned and accepting, she was still alluring in her voicing despite the heartbreak of her love being so cruel and dangerous. A rather lovely slice of synthpop in that classic melancholic vein with an infectious steadfast motorik beat, it again showed that Canada again was leading the way in the modern version of the form.

Available on the EP ‘Reckless’ via Artoffact Records

https://www.leatherstheband.com/


CATHERINE MOAN Drop It!

Having treated the world with her charming cover of the Alan Wilder penned DEPECHE MODE B-side ‘Fools’, Philadelphian songstress CATHERINE MOAN launched her debut album with the self-composed ‘Drop It!’, song craving the joy of nightlife after a year of lockdown confinement. Dreamily floating over a classic four chord progression with an eerily sombre apocalyptic understatement, ‘Drop It!’ channelled her innocent sound in the manner of ELECTRIC YOUTH meeting STRAWBERRY SWITCHBLADE and MARSHEAUX via her own bedroom aesthetic.

Available on the album ‘Chain Reaction’ via https://catherinemoan.bandcamp.com/album/chain-reaction-2

https://www.facebook.com/Catherine-Moan-105421111625150


KARIN MY Loop

While Karin My has been working with TWICE A MAN and MACHINISTA over the last ten years, it was only in 2019 that she stepped out to front her own traditionally derived electronic songs. A steadfast drum machine propels ‘Loop’ while sweeping symphonic melodies in the vein of ULTRAVOX accompany the despairing resignation. The closing computer generated female speech declaring “identification – procedure – quote – hyphen – perform – display – go to – loop – full stop – execute” added to the dystopian unsettlement.

Available on the album ‘Silence Amygdala’ via Ad Inexplorata

http://www.karinmy.net/


NATION OF LANGUAGE This Fractured Mind

Using a rigid motorik backbone and capturing a danceable ethereal shudder, ‘This Fractured Mind’ breathed new life via its sprightly synth tones in a reference to the past. Although there was also some frenetic bass guitar grit to provide a hint of claustrophobia, the machines that had only been friends previously became family in the NATION OF LANGUAGE sound. Dealing with the spectre of unrealised dreams and jealousy towards more successful others, by the end of ‘This Fractured Mind’, any inferiority complex is countered with hopeful acceptance.

Available on the album ‘A Way Forward’ via Play It Again Sam

https://www.nationoflanguage.com/


NORTHERN LITE Ich Fürchte Nein

The project of Andreas Kubat and Sebastian Bohn, the 2001 NORTHERN LITE single ‘Treat Me Better’ was a cult favourite on the electroclash scene. Translating as “I don‘t think so…”, Kubat reflected on enforced isolation and staying sane. In a chorus that could be roughly interpreted: “You can‘t be happy and by liked by everyone at the same time”, ‘Ich Fürchte Nein’ was a delightfully catchy synthpop tune with a bright and jolly melodic section contrasted by a vocal of a more anxious disposition.

Available on the album ‘Ja’ via UnaMusic

https://www.northernlite.de/


GARY NUMAN The Chosen

While ‘Savage’ depicted a deserted post-apocalyptic world, clad in darkness, The Ade Fenton produced ‘Intruder’ saw Planet Earth react to human kind’s self-destructive misdemeanours by unleashing a virus! “It feels betrayed, hurt and ravaged. Disillusioned and heartbroken it is now fighting back” said Gary Numan poignantly.  ‘The Chosen’ was fast paced synth rock and filled with pleading messages embroiled in frustration and despair, asking “Do you need one more sign?” and “Can you see, or are you so blind?”

Available on the album ‘Intruder’ via BMG

https://garynuman.com/


MARK REEDER & FIFI RONG Figure Of 8

Mark Reeder first met Fifi Rong who at the Berlin Kraftwerk in 2016 when she was singing in concert with Swiss trailblazers YELLO. From his album ‘Subversiv-Dekadent’ , the opening track ‘Figure of 8’ was a magical new collaboration between the two with a cinematic backdrop of sparse piano and glistening sequences over which the exquisite Chinese songstress added her distinctive air of mystery to a more metronomic rhythm construction than perhaps heard on her own work.

Available on the album ‘Subversiv-Dekadent’ via MFS

https://fifirong.com/

https://mfsberlin.com/


R. MISSING Crimeless

New York City-based darklings R. MISSING are fronted by Sharon Shy, a vocalist with an elegant Jane Birkin-like presence while the studious Toppy Frost does the music. 2020’s ‘Placeholder For The Night’ signalled airier developments in their increasingly synthy sound, but the wonderful ‘Crimeless’ was R. MISSING’s most electronic pop noir statement yet. It was like CHROMATICS carefully reconfigured for the dancefloor with Sharon Shy presenting a whispery singing style that could easily be mistaken for Ruth Radelet.

Available on the single ‘Crimeless’ via Sugarcane Recordings

https://rmissing.com/


SCHÖNHEIT Danse Du Robot

Subtitled ‘Hommage à Florian’, ‘Danse Du Robot’ was a magical tribute to the late KRAFTWERK co-founder with hints of ‘Trans Europe Express’ from Swedish producer Martin Lillberg, the man behind SCHÖNHEIT. Not exactly a prolific project with singles in 2014 and 2019, Lillberg however records under various monikers including as DEOLETUS, DESTINY NATION, INESI, LAURENTIA, LOVE ON DRUGS, MY SWEETEST PUNCH and WML as well as holding down a day job as a classical percussionist.

Available on the single ‘Danse du Robot (Hommage à Florian)’

https://swedishelectroscene.bandcamp.com/track/danse-du-robot-hommage-florian


SEA FEVER De Facto

SEA FEVER are the new eclectic Manchester combo featuring second generation members of SECTION 25 and NEW ORDER, Beth Cassidy, Tom Chapman and Phil Cunningham. ‘De Facto’ was a delightful electro-disco feast with a rhythm rush that screamed strobelights and likely to fill indie club dancefloors while also crossing over to lovers of synth. With echoes of NEW ORDER and THE CHEMICAL BROTHERS, it captured a vibrant energy worthy of Manchester and its musical heritage.

Available on the album ‘Folding Lines’ via Kartel Records

https://seafeverband.com/


UNIFY SEPARATE Embrace The Fear

As the prospect of interacting with others again set off anxieties after 18 months of social distancing, for Scottish Swedish duo UNIFY SEPARATE, it was time to ‘Embrace The Fear’. While the theme was relatable to lockdown, the lyrical gist touched on the more general existential crises that afflict many as they navigate a life crossroads. But despite the air of unease and the grittier disposition, as with most of UNIFY SEPARATE’s output, there was light at the end of the tunnel.

Available on the single ‘Embrace The Fear’ via https://unifyseparate.bandcamp.com/track/embrace-the-fear

https://www.facebook.com/usmusicspace


WAVESHAPER Lost In The Cloud

Gorgeously melodic within a claustrophobic drama, ‘Lost In The Cloud’ did as the title suggested like Vangelis meeting Giorgio Moroder at the Necropolis on a dreamy dance trip. A lovely little uplifting synth instrumental, Tom Andersson the man behind WAVESHAPER suggested something darker, saying “Imagine Red Riding Hood trapped in the Digital Cloud, behind the Mainframe. How would she feel? What would she see? There is probably more to fear than a wolf in the forest…”

Available on the album ‘Mainframe’ via Waveshaper Music Production

https://www.facebook.com/Waveshaperofficial


A selection of ELECTRICITYCLUB.CO.UK’s favourite music in 2021 is on its ‘Missing U’ playlist at
https://open.spotify.com/playlist/4rlJgJhiGkOw8q2JcunJfw


Text by Chi Ming Lai
11th December 2021

NATION OF LANGUAGE A Way Forward

NATION OF LANGUAGE released their debut album ‘Introduction, Presence’ in Spring 2020 just as the worldwide pandemic took hold.

Starting out as a post-punk act, lead singer and songwriter Ian Devaney became interested in using synths after hearing OMD’s ‘Electricity’ in his father’s car for the first time in years. Also featuring his wife Aidan Noell on keyboards and bassist Michael Sui-Poi, the Brooklyn-based trio adopted a “beginner’s mind” to electronic pop with songs such as ‘On Division St’ and ‘Friend Machine’ capturing a sharp synthy spirit alongside a notion of anguish.

A following standalone single ‘Deliver Me From Wondering Why’ explored the more experimental phase of OMD, but issued as a trailer for their appropriately titled second album ‘A Way Forward’, the catchy Motorik drive of ‘This Fractured Mind’ breathed new life into its retrospective references with sprightly synth tones and a danceable ethereal shudder. Dealing with the spectre of unrealised dreams and jealousy, any inferiority complex was countered with a hopeful and optimistic acceptance to move on.

That frantic Motorik beat reappears a few more times during ‘A Way Forward’, with a more direct NEU! approach on ‘Across That Fine Line’ using textural guitar with occasional pulses of synth before a chorus that bursts into an anxious post-punk thrash.

But on several occasions, NATION OF LANGUAGE eschew prominent percussion as on the album opener ‘In Manhattan’ which utilises a pulsing sequenced backdrop that recalls MIRRORS ‘Fear Of Drowning’, reflecting the tense anxieties of young manhood. Meanwhile, the sparse arpeggios of the haunting ‘Former Self’ conjure the feel of a lost East European folk song reimagined with an electronic treatment, although this perhaps is not surprising as it was composed on a nylon string guitar.

With the tick of a clock, ‘They’re Beckoning’ looks as though it will follow a similar route with minimal sweeping synths but a minute and a half in, it kicks with thumping electronic drums, sparking trancey blips and moody bass guitar to recall NEW ORDER like ‘Your Silent Face’ meeting ‘Temptation’ for an infectious brooding closer.

The influence of early OMD makes its presence felt on the atmospheric ‘Wounds of Love’ while the forlorn longing of ‘Miranda’ presents a slow waltz and a closing ivory segment that sounds as if it is about to morph into ‘Souvenir’. Meanwhile, like a drifting train ride, ‘A Word & A Wave’ throws in fits of white noise à la ‘Almost’ and DEPECHE MODE’s ‘Any Second Now’.

But exuding a KRAFTWERK inspired octave shifting template, ‘The Grey Commute’ ponders the daily routine of many with backing that could be MIRRORS with more guitar. And although it is less immediate the some of the other tracks, it carries depth and echoes the John Foxx fronted ULTRAVOX! with ‘Hiroshima Mon Amour’ in its hypnotic mechanised rhythms.

‘Whatever You Want’ labours a little but overall, ‘A Way Forward’ does as its title suggests. Showing growth from the seed planted during ‘Introduction, Presence’, there is potential for even more and ‘A Way Forward’ confidently showcases to some of the more hipster factions in the music world that synths and drum machines are not dirty words and can be applied with a post-punk influence to an independent pop sound.

Dancing while a little down can be uplifting and the shifting emotions of ‘A Way Forward’ show that while it’s ok to not be ok, it’s also ok to take time to escape as well.


‘A Way Forward’ is available in CD and vinyl LP formats from https://www.nationoflanguage.com/

Download available from https://nationoflanguage.bandcamp.com/album/a-way-forward

NATION OF LANGUAGE EU + UK 2022 tour includes:

Copenhagen Ideal Bar (15th January), Stockholm Obaren (16th January), Oslo Bla (17th January), Berlin Kantine Am Berghain (19th January), Zurich Kater (20th January), Barcelona Laut (22nd January), Madrid Sala El Sol (23rd January), Paris Supersonic (25th January), Leeds Hyde Park Book Club (27th January), Glasgow Broadcast (28th January), Dublin Grand Social (29th January), Manchester YES Pink Room (30th January), London Lafayette (31st January)

https://www.facebook.com/nationoflanguage

https://twitter.com/notionofanguish

https://www.instagram.com/nationoflanguage/

https://open.spotify.com/album/2hPnsq6HZHcgkFlLclKrvv


Text by Chi Ming Lai
8th November 2021

NATION OF LANGUAGE This Fractured Mind

‘This Fractured Mind’ is the best of the three trailers released so far by NATION OF LANGUAGE ahead of their upcoming second album ‘A Way Forward’.

Dealing with the spectre of unrealised dreams and jealousy towards more successful others, by the end of ‘This Fractured Mind’, any inferiority complex is countered with hopeful acceptance in line with the new album’s optimistic title.

Vocally like a majestic cross between THE NATIONAL and A-HA, NATION OF LANGUAGE are led by singer /songwriter Ian Devaney; his wife Aidan Noell on keyboards and returning bassist Michael Sui-Poi complete the line-up.

Using a rigid motorik backbone and capturing a danceable ethereal shudder, ‘This Fractured Mind’ breathes new life via its sprightly synth tones in a reference to the past. Although there is also some frenetic bass guitar grit to provide a hint of claustrophobia, the machines that had only been friends previously have now become family…

Possibly the nearest act musically to the much missed MIRRORS at the moment, NATION OF LANGUAGE seem to get synthier with each release. ‘On Division St’ from their debut long player ‘Introduction, Presence’ revealed itself to be a second cousin to NEW ORDER’s ‘Bizarre Love Triangle’ with its sharp synth lines and programmed bass triplets. But a late 2020 standalone single ‘Deliver Me From Wondering Why’ used a more blippy construction compared with the post-punk approach of their earlier work and explored the more experimental phase of OMD.

Ian Devaney’s artistic epiphany came when he heard OMD’s ‘Electricity’ in his father’s car for the first time in years, having grown up with it as part of his domestic soundtrack. Inspired to write songs with modern monophonic synths like the Behringer MS-1, Moog Sub37 and reissued Korg MS20, he adopted a fresh beginner’s mind towards the electronic pop form.

With such an affinity towards pioneering British new wave bands like NEW ORDER and OMD, NATION OF LANGUAGE’s tour of the UK in early 2022 could be seen as a sort of spiritual homecoming for the Brooklyn-based trio.


‘This Fractured Mind’ is from the upcoming album ‘A Way Forward’ released on 5th November 2021, pre-order from the band’s website shop or https://nationoflanguage.bandcamp.com/

NATION OF LANGUAGE 2022 EU + UK tour includes:

Copenhagen Ideal Bar (15th January), Stockholm Obaren (16th January), Oslo Bla (17th January), Berlin Kantine Am Berghain (19th January), Zurich Kater (20th January), Barcelona Laut (22nd January), Madrid Sala El Sol (23rd January), Paris Supersonic (25th January), Leeds Hyde Park Book Club (27th January), Glasgow Broadcast (28th January), Dublin Grand Social (29th January), Manchester YES Pink Room (30th January), London Lafayette (31st January)

https://www.nationoflanguage.com/

https://www.facebook.com/nationoflanguage

https://twitter.com/notionofanguish

https://www.instagram.com/nationoflanguage/

https://open.spotify.com/artist/5JWBow4ywgKNQ5HBxY8hcz


Text by Chi Ming Lai
10th August 2021

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