Tag: NNHMN

2023 END OF YEAR REVIEW

Photo by Jori Hulkkonen

Just as it looked like it would be safe to come out to play, there was uncertainty within the music industry again.

What had become the artists’ favourite platform thanks to its low commission and 0% Fridays, Bandcamp was taken over by Epic Games in 2022 but then following a move by employees to unionise, was sold to Songtradr who immediately dismissed half of its staff… in hindsight, despite its proclamation that this platform cared about the music, it looked like this had been yet another start-up by tech venture capitalists. Just as many acts dropped their own websites in favour of Facebook over a decade ago but were then trapped into sponsored posts to reach the majority of their own fanbase, online shops had been dropped for Bandcamp. So, things are back to square one as many consider a rebuild of their web presence.

Meanwhile, Live Nation CEO Michael Rapino made a controversial declaration that concert ticket prices were generally too low and that artists could easily “charge a bit more”. While THE CURE notably refused to do this and capped their face value tickets at $20 for their US tour, the Live Nation sister outlet Ticketmaster applied excessive booking extras of more than $20 per ticket for a “service fee”, “facility charge” and “order processing”! With dynamic pricing in place at a number of high profile events and so-called VIP tickets on the rise (which didn’t actually include a meet ‘n’ greet but only a nearby bar and a lanyard), fans had their “FOMO” anxieties triggered and simply paid up!

Photo by Chi Ming Lai

Another artist who kept ticket prices low was Midge Ure who embarked on the successful ‘Voices & Visions’ tour after a year’s delay due to uncertainties over the Covid situation in 2022. Complimented by a straightforward but very effective light show and material from his second and third long players with ULTRAVOX ‘Rage In Eden’ and ‘Quartet’, it was a triumph. He was rewarded with a 70th birthday show celebrating his career at The Royal Albert Hall, which despite its plush surroundings was also kept affordable.

Who says an artist has no control over retail pricing? But one band who were shamelessly happy to charge more for concert tickets, more for merchandise and more for physical releases were DEPECHE MODE. For their first album and tour since the passing of co-founder Andy Fletcher in 2022, the remaining members played the death card with ‘Momento Bori’ and managed to plonk an even more underwhelming arena show into the stadiums of the world… at least the ‘Global Spirit’ tour featured risers!

With renowned UK venues such as Printworks and Moles closing down, as had already been highlighted by Juls Garat of US goth band PILGRIMS OF YEARNING via social media in 2022: “If you’re spending a kidney on DEPECHE MODE tickets and not attending a local show this weekend, I don’t wanna see you complaining that there’s no scene, local venues or new music anymore”. However, one seemingly oblivious Devotee said about the inflated ticket prices: “Really don’t know what the issue is. Happily paid £108.00 for a DM ticket. Would have paid more!!”. And therein lays the problem… DEPECHE MODE played a date at Stadion Wankdorf in Bern and that said it all! As the man who Devotees call a genius once wrote: “Some great reward will be coming my way…”

Photo by Chi Ming Lai

As The Devotees wallowed in their collective misery during 2023, the Stockholm Syndrome was stronger than ever. On the Bratislava leg at the National Football Stadium, one of The Black Swarm commented to ELECTRICITYCLUB.CO.UK: “I was there… I must admit, a bit disappointed… but I still love them!!!”. It was business as usual for DEPECHE MODE, with “business” being the operative word. It was reported that so much money had been sucked out of the European alternative music market in particular that a number of acts had to schedule their planned tours to 2024, while others who had made good albums worthy of attention in 2023 got lost in the sea of DM propaganda on the web.

Despite increased ticket prices at all levels, gig etiquette declined to the worst possible standards with the constant chatter and bad manners among some attendees. Surely if you have paid upwards of £30 or more for a show, you might want to pay more attention and enjoy it? ELECTRICITYCLUB.CO.UK has never seen it this bad in the 43 years it has been going to concerts, but this entitled arrogance to talk extremely loudly about total bollocks is a undoubted legacy of Brexit and Covid which in combination has normalised a lack of social graces in gathered environments… and when challenged, these total numbskulls become aggressive, pitifully unaware that they are ruining the evening of those around them.

Meanwhile, there was another undesirable element who only go to gigs to post selfies and badly distorted footage on their socials… these were often the sort of people who actually hated the band back in the day, but after 40+ years realised they like the song on the Vitality or Waitrose advert so are sudddenly giving it the big “I AM” about being a fan… but BECAUSE they are only there for one song, they then treat the rest of the gig like they were out with their mates in the pub! 🤬

Photo by Chi Ming Lai

The best live shows of the year came from PET SHOP BOYS and DURAN DURAN with their arena extravaganzas full of hits, classic fan favourites and great staging. Among the album celebrations, CHINA CRISIS ran through their second long player ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ on tour to celebrate its 40th anniversary and founder bassist Peter Hook took the first NEW ORDER compilation ‘Substance’ out on the road to coincide with its expanded 4CD reissue.

“Sweden’s best kept pop secret” KITE impressed with an imitate headliner for their debut London gig and later at Cologne’s Amphi Festival to a much larger crowd, while the return of Ollie Wride to the London stage at The Scala illustrated why he has potential to be the next synthwave artist to crossover into the mainstream.

Photo by Ed Miles

‘Time’s Arrow’, LADYTRON’s second album since their return from hiatus proved to be something of a disappointment while fairing slightly better with its anti-Brexit sentiments, ‘Bauhaus Staircase’ was touted as the final album from OMD; now kissing the strict machine, having previously been supportive of new electronic pop via ELECTRICITYCLUB.CO.UK championed acts MIRRORS, VILLA NAH, VILE ELECTRODES, METROLAND, TINY MAGNETIC PETS and SOFTWAVE, their choice of art glam hipsters WALT DISCO as opening act on the UK leg of the 2024 tour was symbolic of the general poor state of modern synthpop ie pop music using synths, particularly within the narrow-mindset of Brexit Britain.

Although the UK was continuing to party like it was 1933, the incendiary language that Cruella Braverman was using was so extreme that she was even dismissed from fronting the Conservative Party new wave covers band A FLOCK OF SIEG HEILS… as a trio of poets from South Yorkshire once said: “BROTHERS! SISTERS! WE DON’T NEED THIS FASCIST GROOVE THANG!”

Reflecting a wider issue, 2023 also saw ELECTRICITYCLUB.CO.UK publish its fewest number of ‘Introducing…’ new artist articles since its inception in 2010 with only Brigitte Bardini and Madeleine Goldstein featured. There were a number of possible reasons…

Photo by Bella Salvatore

“The technology leads the art form and it always has” said veteran producer Steve Lillywhite on a recent Rockonteurs podcast, “if the technology allows you to reference other people’s records… you WILL do that!”. This was summed up by an Apple Mac advert featuring sample-based British pop singer PinkPantheress demonstrating how to have a hit by appropriating a topline from Kelly Rowland and plonking it into GarageBand before processing her voice through AutoTune and nabbing the intro of ‘Gold’ by SPANDAU BALLET… you said it yourself Miss Walker, IT SOUNDS LIKE GARBAGE!

While the accessibility, usability and sound quality of modern tech has totally democratised music making, as another veteran producer Stephen Hague put it to ELECTRICITYCLUB.CO.UK “it’s made it far too easy”, with the end result being familiarity and imitation rather than innovation. Now that an acceptable sound is able to be obtained fairly quickly on software such as GarageBand, the level of songwriting has generally declined in many genres. Artists abstain from putting in the hard work towards the actual songcraft because they think their track is already great, as it sounds like someone they’ve based it on!

However, the misuse of “synth” as a description reached a new nadir in 2023. There were those using “synth” or “synthwave” in their brand identity who proudly revealed via their Spotify Wrapped that their Top Genre was actually rock or made bizarre comments like “What I like most about synthwave is the guitar solos”. Meanwhile one artist declared they were synthpop because they had spent their youth “listening to too much Madonna”! But synth music as an enduring form is ultimately doomed when social media platforms using “Synthpop” in their idents think that guitar-based bands like BIG COUNTRY and COCTEAU TWINS are part of it, or compile acoustic playlists!! 🤦‍♂️

“Synth” has now somehow become is a general term for any retro-flavoured pop with an element of shiny artifice whether synthesizers have been used or not! These artists and “content creators” are now too young to understand what “synth” in music actually once meant and probably think the term is short for “synthetic” as in clothes and hair products, as opposed to “synthesizer”.

That said, 2023 was not all bad and there was a lot of excellent music. The song of the year was by the unlikely synth hero in glum rocker Lloyd Cole; while guitars made a more prominent but limited return on his album ‘On Pain’ following 2019’s electronically-dominated ‘Guesswork’, the standout song ‘The Idiot’ saw him provide a touching narrative on the relationship between David Bowie and Iggy Pop as they relocated to Berlin in 1976.

Swedish veterans PAGE took the Numanisation of their poptronica to its zenith by bringing in former imperial phase Numan band members Chris Payne and RRussell Bell on their new album ‘En Ny Våg’. Across the Öresund Bridge, Danish synthpop couple SOFTWAVE showed the world the ‘things we’ve done’.

Photo by George Tripodakis

Another music veteran Ricky Wilde teamed up with NINA to reveal their ‘Scala Hearts’; full of classic pop references and a modern sheen, this was the record Wilde had wanted to make for a few years but hadn’t been able to with his sister Kim. Its creative drive showed and this was also the best long player that NINA had been part of since she launched her solo career in 2011. In a busy year, NINA also found time to satisfy many a red blooded fantasy by collaborating with Kid Moxie on the ‘Lust’ EP released by Italians Do It Better.

The Finns were strong too, with Jaakko Eino Kalavi and Jori Hulkkonen producing two of the best albums of 2023. The former’s eclectic ‘Chaos Magic’ featured Alma Jodorowsky, Mr Silla and Jimi Tenor as special guests while the latter’s ‘There Is Light Hidden In These Shadows’ brought in John Grant, Ralf Dörper, Jake Shears, Jon Marsh, Juho Paalosmaa and Tiga.

While maintaining his front man role in MESH, Mark Hockings presented his solo project BLACKCARBURNING in long playing form and was ‘Watching Sleepers’. Also going it alone, Alison Goldfrapp squarely hit the dancefloor via ’The Love Invention’ with Kylie Minogue’s similarly glitzy ‘Tension’ as its companion. But with ACTORS still busy touring the world, the planned long playing debut from LEATHERS was yet to emerge but there were two new singles in the interim.

METROLAND and side project 808 DOT POP ambitiously released albums in five different formats with exclusive tracks on each between them simultaneously, in a move that had not been seen since 1978 when all four members of KISS released solo records on the same day. Much more discretely, ITALOCONNECTION came up with ‘Nordisko’ which comprised of Nordic pop disco covers. More ambient experiments were served by John Foxx, Vince Clarke, Patricia Wolf, Johan Agebjörn and the late Ryuichi Sakamoto, while putting those ethereal textures into song was Hinako Omori with her appropriately named second album ‘stillness, softness…’

Germany’s BEBORN BETON offered bleak commentary on the state of the planet with ‘Darkness Falls Again’ but encouraged everyone to be dancers in the dark while Chinese band STOLEN highlighted this ‘Eroded Creation’. Within their ‘Circle Of Doom’, NNHMN had pressing matters closer to home while ZANIAS emerged from her ‘Chrysalis’. FERAL FIVE confronted and worked with AI to declare ‘Truth Is The New Gold’ and Finlay Shakespeare tapped into his ‘Illusion + Memory’.

Photo by Tim Darin

Among the promising emergent acts with debut EPs were NEU-ROMANCER and DIE SEXUAL while German solo artists Jennifer Touch and Laura Dre added to their long playing portfolios, as did OHNOTHING and BUNNY X. Fronted by respectively by John Grant and Neil Arthur, CREEP SHOW and THE REMAINDER outlined the benefits of collaboration while CAUSEWAY joined forces with R. MISSING for the single ‘Wear The Night Out’.

Despite having plied their trade for over 50 years, SPARKS continued to be as eccentric as ever and even had Cate Blanchett appear in the video for ‘The Girl Is Crying In Her Latte’. With ‘*Happiness now completed’ and Dave Ball returning to the live fold after a period of serious illness, SOFT CELL effectively issued another new album featuring a significant number of previously unreleased tracks including covers of Giorgio Moroder and X-RAY SPEX to provide a much more satisfying listening experience than the parent ‘*Happiness not included’ record. Then there was the unexpected recorded return of CLASSIX NOUVEAUX with their ‘Battle Cry’.

Veteran acts who ceased active operations many years ago got worthy boxed set treatments; TELEX provided ELECTRICITYCLUB.CO.UK with the funniest interview of the year in support of their self-titled retrospective on Mute while LANDSCAPE were comprehensively catalogued by Cooking Vinyl. Not to be left out, the trusty Cherry Red via their Lemon imprint showcased how underrated NEW MUSIK and their leader Tony Mansfield were, especially with the latter’s sound clearly audible in today’s pop acts such as THE WEEKND.

Despite the return of Q, the jury was still out on whether music magazines are still desirable aside from their CD and vinyl artefacts. Meanwhile, music-based social media dumbed down its engagement to cut ‘n’ paste Wikipedia snippets accompanying archive photos or artwork, pointless 26th anniversary posts and non-significant birthday celebrations to attract likes. Comments from the public such as “My favourite album… I wish I still had it!” and saying “Happy Birthday” when the platform wasn’t even connected to the artist concerned only highlighted further the continuing inane nature of online interaction. And this was without those irritating “POV” reels and reaction videos on TikTok and Instagram which were unfortunately prevalent!

The less said about the right wing gammon infested sh*t show that Twitter has become, the better but on the new Threads platform intended to take it on, PENDULUM’s El Hornet remarked “omg threads is full of music industry self help w*nkers making lists about things nobody asked abort! ABORT!” 🤣

With such platforms also seemingly centred around the exposure of flesh with photos “just for fun” be the subject a golfer, gamer, painter, baker, comedian, hairdresser, photographer, psychologist, racing driver, book reviewer, poet, dating coach or Lego enthusiast, is it any wonder that several music artists resorted to setting up OnlyFans accounts to sell nude photos!

With pun totally intended, in this challenging climate for exposure, some acts simply got a bit too big for their boots and were unbearably conceited on their socials with their bragging and frivolous chatter to appease a needy flock who hung onto their every word, desperate to be seen to be “friends” of wannabe stars while crowdfunding towards their spa weekenders and vet bills for their cat… it was therefore ironic that one of these acts declared “Music isn’t a competition!” when it appeared that another band might be taking away some of their limelight! Well, stop acting like it’s a 24 hour edition of ‘The Apprentice’ then!!! 🙄

On the other side of the coin, one too cool for school band took a strange attitude to promotion by refusing to accept questions about their influences while trying to come over like total originals. Despite their inspirations being blatant and obvious to hear, they had a misguided self-belief that they were somehow speaking a new language! But everybody knows they started out by purchasing the sheet music to ‘Bizarre Love Triangle’ from a New York thrift store! 😆

A few years ago, a lone British artist was complained about the lack of press attention for their new admittedly good album, but then proceeded not to answer emails containing interview pitches. Artists need to engage, no matter how much they say they hate doing promotion, they can’t have it both ways. The days of RADIOHEAD not doing interviews to promote a new album and letting the music speak for itself are long gone…

With the world now making up for lost time since 2020, it would be fair to say that 2023 has been something of a strange year!


Text by Chi Ming Lai
18 December 2023

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2023

Making up for lost time and revenue since 2020, the music industry really went to town on their various income streams in 2023…

Albums were being released in multiple coloured vinyl editions with the same content, sometimes as many as eight versions… while this helped in inflating physical chart positions for marketing purposes, it also gave an incorrect perception of success. As Stephen Morris from NEW ORDER once remarked to Smash Hits back in 1983: “If you believe in the charts, then you may as well believe in fairies…”

With Live Nation CEO Michael Rapino declaring that concert ticket prices were generally too low and that artists could easily “charge a bit more”, this was exactly what quite a few did and there was a noticeable price hike observed across all levels over the year.

But what about the music? This year’s song listing was quite straightforward to compile, with a smaller shortlist compared to previous years with DURAN DURAN, KITE, PISTON DAMP, LEATHERS, DELERIUM and LADYTRON missing the final 30.

Just a note that ELECTRICITYCLUB.CO.UK has never compiled an albums list, due to long form releases now having a much longer gestation period than in the past. Therefore, songs are a much better representation of the music from a calendar year. If you like the song, then check out the parent album or EP if applicable via your chosen music platform…

Selected from tracks available on the usual online retail platforms with a restriction of one song per artist moniker (so yes NINA, John Grant,  Finlay Shakespeare and Laura Bailey each appear twice but in different combinations), here are the ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2023 listed in alphabetical order…


BRIGITTE BARDINI Start A Fire

Hailing from Melbourne in Australia, Brigitte Bardini is the latest artist to embrace her dark side having begun as an acoustic singer songwriter. Moving away from the dreampop and shoegaze of her earlier material, ‘Start A Fire’ captured an alluring gothique on top of a gritty dance tempo while simultaneously haunting and melodic. The stylised rage was sinister stuff but aurally and visually absorbing.

Available on the BRIGITTE BARDINI single ‘Start A Fire’ via Ruby Valley Records

https://www.facebook.com/BrigitteBardiniMusic


BEBORN BETON Dancer In The Dark

Not a rework of Bruce Springsteen, the brilliant ‘Dancer In The Dark’ saw BEBORN BETON managing to out Camouflage CAMOUFLAGE with an infectious pop sensibility that more than likely came from front man and lyric writer Stefan Netschio’s love of DURAN DURAN. With another Cold War looming as if The Berlin Wall never fell, ‘Dancer In The Dark’ was a message to remain positive in the face of adversity.

Available on the BEBORN BETON album ‘Darkness Falls Again’ via Dependent Records

https://www.bebornbeton.com/


BLACKCARBURNING The Mirror

A product of lockdown, BLACKCARBURNING is the solo vehicle of Mark Hockings with the lead singer of MESH taking on multiple roles including programming and production. The spikey throbbing energy of ‘The Mirror’ provided a dark disco highlight away from the parent band’s template. “I’m just generally a fan of arpeggiated bass lines” he said, “I don’t think you can go far wrong with a repetitive sequence and a Roland drum machine”.

Available on the BLACKCARBURNING album ‘Watching Sleepers’ via COP International

https://blackcarburning.com/


LLOYD COLE The Idiot

With Lloyd Cole “excited to still be finding new methods, new perspectives, new sounds”, the standout song ‘The Idiot’ from his Chris Hughes’ produced album ‘On Pain’ gave a touching synth-laden narrative on the relationship between David Bowie and Iggy Pop as they relocated to Berlin in 1976 in an imagined conversation as the pair escaped their narcotic dependency while cycling to the studio and discothèque.

Available on the LLOYD COLE album ‘On Pain’ via earMUSIC

https://www.lloydcole.com/


CREEP SHOW The Bellows

A supergroup comprising of John Grant and the trio WRANGLER comprising of Stephen Mallinder, Ben Benge Edwards and Phil Winter, CREEP SHOW released their acclaimed debut album ‘Mr Dynamite’ in 2018. Utilising a punchy backing track, ‘The Bellows’ was like a blippy PET SHOP BOYS with layers of treated and vocodered vocals before being countered by enticing Middle Eastern resonances in the synth solo.

Available on the CREEP SHOW album ‘Yawning Abyss’ via Bella Union

http://creepshowmusic.com


DAWN TO DAWN Seventh Floor

Their first new track from DAWN TO DAWN since their 2022 debut album ‘Postcards From The Sun To The Moon’, the Montreal trio of solo artist Tess Roby with THE BEAT ESCAPE’s Adam Ohr and Patrick Lee conjured images of headlights on night drives with the shimmering story of love and lust that was ‘Seventh Floor’. With dreamy synthscapes and hypnotic drum machine, this was a wonderfully understated dance number.

Available on the DAWN TO DAWN digital single ‘Seventh Floor’ via SSURROUNDSS

https://www.facebook.com/dawntodawnmusic


FERAL FIVE Silver Sky

Creating their own “Feraltropolis”, the palette of tools on ‘Truth Is The New Gold’ saw FERAL FIVE use traditional instruments, electronica and AI voicing in a quirky but accessible fashion for a commentary on today’s strangely dystopian post-truth world. Exploring the theme of light pollution, the fine squelch laden ‘Silver Sky’ saw great vocals and backing reminiscent of INTERNATIONAL TEACHERS OF POP and DUBSTAR meeting GOLDFRAPP.

Available on the FERAL FIVE album ‘Truth Is The New Gold’ via Reckless Yes

https://www.feralfive.com/


FRAGRANCE. Much More Like A Wave – M!R!M Remix

Matthieu Roche is the enigmatic Parisian behind FRAGRANCE. whose debut ‘Dust & Disorders’ was expanded in 2023 with five new tracks. The first remix from it came in the shape of an excellent ‘Much More Like A Wave’ rework by London-based Italian producer M!R!M. “I love his take on the song” said Roche, “I always felt that the chorus of this song could work as an anthem and he definitely achieved that with his remix”

Available on the FRAGRANCE. digital single ‘Much More Like A Wave – M!R!M Remix’ via Sugarcane Recordings

https://www.facebook.com/thisisfragrance/


GLÜME Dangerous Blue

Following the acclaim for her debut ‘The Internet’ and her first liev appearences, the second Glüme album ‘Main Character’ with high profile guests such as Sean Ono Lennon and Rufus Wainwright was set to elevate her to the next level. However, things did not quite work out that way with health and financial concerns by the end of the year. ‘Dangerous Blue’ was one of the sparkling highlights despite its cooing melancholy.

Available on the GLÜME album ‘Main Character’ via Italians Do It Better

https://www.instagram.com/babyglume/


MADELINE GOLDSTEIN Seed of Doubt

Formally of synth-tinged Portland band FRINGE CLASS, Madeline Goldstein presented her best single yet in ‘Seed Of Doubt’ to launch her ‘Other World’ EP. With a wider narrative on “the restlessness of alienation and isolation, the longing to move, to feel power, and to flee”, ‘Seed Of Doubt’ was a brooding slice of gothwave in a manner tinged with some ghostly allure thanks to a haunting soprano delivery.

Available on the self-released MADELINE GOLDSTEIN EP ‘Other World’

https://www.instagram.com/madelinegoldstein_/


JORI HULKKONEN featuring JOHN GRANT I’m Going To Hell

“For my 50th birthday I wanted to do something a bit special” said Jori Hulkkonen, “however, the list of realistic projects quickly narrowed down on yet another album. I did manage to invite some friends and heroes to be featured on it, though.” The album assembled an impressive supporting cast; displaying his love of PET SHOP BOYS, hearing John Grant with his rich baritone on a house-driven pop track like ‘I’m Going To Hell’ was pure joy.

Available on the JORI HULKKONEN album ‘There Is Light Hidden In These Shadows’ via Blanco & Tinto Recordings

http://www.jorihulkkonen.com


ITALOCONNECTION featuring JAIA SOWDEN On The Radio

ITALOCONNECTION’s long player ‘Nordisko’ came with a twist by paying tribute to pop from the Nordic region via a collection of cover versions. Written by Jay-Jay Johanson, his marvellous 2002 tune ‘On The Radio’ was given an airy feminine disco makeover featuring Jaia Sowden on vocals. With absorbent sequences and glistening keys, it was a fine disco friendly shapeshift from the artpop original.

Available on the ITALOCONNECTION album ‘Nordisko’ via Mordisco / Blanco Y Negro

https://www.facebook.com/italoconnection


JAAKKO EINO KALEVI The Chamber Of Love

Athens-based Finn Jaakko Eino Kalevi sought to find beauty in the chaotic nature of the everyday on his new double album ‘Chaos Magic’. One of its many highlights ‘The Chamber Of Love’ bore a resemblance to WHAM! “I wrote the song before I ever heard ‘Everything She Wants’ but the arrangement was different” the Finn said, “I love ‘Everything She Wants’ so I arranged this song sounding more like that. It is more electronic now…”

Available on the JAAKKO EINO KALEVI album ‘Chaos Magic’ via Weird World / Domino Recording Co

https://www.jaakkoeinokalevi.com/


KID MOXIE & NINA Lust

When artists are mutual fans, it can lead to collaborative possibilities and even ‘Lust’. KID MOXIE and NINA teamed up via Italians Do It Better to capture a seductive film-noir tension within a fantasy world with the EP launched by a cover of ‘Waiting For The Night’, a song made famous by Jennifer Lopez. With a cool air of enigmatic mystery, the downtempo synthwave treatment on ‘Lust’ exuded a sensual anticipation of consummation in their duet.

Available on the KID MOXIE & NINA EP ‘Lust’ via Italians Do It Better

http://www.facebook.com/kidmoxie

https://www.iloveninamusic.com/


KNIGHT$ What Planet Did You Come From?

The first new music from KNIGHT$ since 2021, the vibrant hook-laden Eurobeat of ‘What Planet Did You Come From? (Baby)’ threw in the kitchen sink with synth, sax and vocoder. With shades of Patrick Cowley’s work for Sylvester and Bobby Orlando’s Divine productions, it affirmed that James Knights’ Britalo was just the tonic in these difficult times despite highlighting existential issues closer to home.

Available on the KNIGHT$ EP ‘$auna Mu$ik’ via Specchio Uomo

http://knights101.com/


NATION OF LANGUAGE I Will Never Learn

From their third album ‘Strange Disciple’ themed around “toxic infatuation”, the fittingly titled ‘I Will Never Learn’ summed up life’s trials and tribulations in a wonderful example of why NATION OF LANGUAGE appeal so much in their glorious mix of synths, live bass, sequencers and electronic percussion. A haunting girly falsetto howl provided a beautiful touch alongside their usual NEW ORDER, OMD and ULTRAVOX influences.

Available on the NATION OF LANGUAGE album ‘Strange Disciple’ via PIAS

https://www.nationoflanguage.com/


NEU-ROMANCER Burning Eyes

Having impressed with her first NEU-ROMANCER EP ‘Neue Romantika’ earlier in 2023 while touring the world with ZANIAS, Berlin-based Australian Laura Bailey ended the year with the cowbell heavy Hi-NRG romp ‘Burning Eyes’ on CURSES’ enjoyable album ‘Next Wave Acid Punx DEUX’ compilation. It made use of both her vocal and bass prowess which were less prominent on her largely instrumental debut release.

Available on the compilation album ‘Next Wave Acid Punx DEUX’ (V/A) via Eskimo Recordings

https://www.facebook.com/neu.romacer.music/


NNHMN Soldier of Beauty

As NNHMN, wife and husband “non-humans” Lee Margot and Michal Laudarg have been encapsulating these unsettling times in music. Adapting their dark electronic body style with more varied dance elements on their appropriately titled ‘Circle of Doom’ album, courtesy of a particularly hypnotic bassline, the wonderful serene glory of ‘Soldier of Beauty’ gave the viewpoint that the only honest thing to fight for is peace.

Available on the NNHMN album ‘Circle of Doom’ via Young and Cold Records

https://www.nnhmn.com


OMD Look At You Now

Derived from a Paul Humphreys demo with the working title of ‘Zimmer Frame for Andy’, this came bursting with the usual OMD hooks and was perhaps only missing a Paul Humphreys lead vocal. Lyrics such as “When the energy is gone and the feeling is just wrong” and “The power in your hand is pouring out like sand” pointed towards the ‘Bauhaus Staircase’ album’s political themes on the blind stupidity of Brexit.

Available on the OMD album ‘Bauhaus Staircase’ via 100% Records

https://omd.uk.com/


PAGE Det Här Är Mitt Sätt

Although the ‘En Ny Våg’ album title song took the PAGE “Numanisation” process to its zenith by featuring Chris Payne, outstripping it was the excellent jaunty robopop of ‘Det Här Är Mitt Sätt’. Within its four chord progression, there were catchy riffs and some fabulous vintage Moog soloing in what was originally conceived as a homage to ‘Fade To Grey’, song which Payne co-wrote.

Available on the PAGE album ‘En Ny Våg’ via Energy Rekords

https://www.facebook.com/PageElektroniskPop


THE REMAINDER Broken Manhole Cover

As well as Neil Arthur, THE REMAINDER also comprises Liam Hutton and Finlay Shakespeare, both members of the live BLANCMANGE family. The excellent dance friendly ‘Broken Manhole Cover’ recalled LCD SOUNDSYSTEM and it was all intentional as Neil Arthur told ELECTRICITYCLUB.CO.UK “you’ll hear me singing via a gated tremolo FX the words ‘LCD SOUNDSYSTEM’ most of the way through the song.”

Available on THE REMAINDER album ‘Evensong’ via by Blanc Check Ltd

http://www.blancmange.co.uk/

https://www.liamhutton.co.uk/

http://finlayshakespeare.com/


R. MISSING All Alone With Seas

Fronted by enigmatic Sharon Shy, having released enough singles this year to make up an album, R. MISSING are in danger of falling under the radar with the bubbly electronic pop noir of ‘All Alone With Seas’ almost passing by unnoticed despite being one of their best songs of late. A long playing release, while old fashioned and not playing the modern streaming algorithms, may provide the focal point that the New York-based duo deserve.

Available on the R. MISSING single ‘All Alone With Seas’ via Terminal Echo

https://rmissing.com/


SALLY SHAPIRO Rent

Covered by acts as diverse CARTER THE UNSTOBBALE SEX MACHINE and Liza Minnelli, the latest interpretation of PET SHOP BOYS stark narrative of a kept woman came via this wispy account by Swedish duo SALLY SHAPIRO. Keeping the original theme of relationship dependency close to its heart but offering an icier Nordic vision from a female perspective, Neil Tennant said “We’ve heard it! The chorus in particular sounds good”.

Available on the SALLY SHAPIRO single ‘Rent’ via Italians Do It Better

https://www.facebook.com/shapirosally


DIE SEXUAL Bound, I Rise

From out of the shadows to under the strobe lights, DIE SEXUAL are the Los Angeles-based wife-and-husband duo of Rosselinni and Anton Floriano, the latter part of BLACK LIGHT ODYSSEY who remixed the DEPECHE MODE bonus track ‘Oh Well’. Their dark electronic influences examine themes of domination and submission with the seductive ‘Bound, I Rise’ seeing the bottom switch to the top in a hypnotic EBM friendly stomper.

Available on DIE SEXUAL EP ‘Bound’ via A System Exclusive / Hush Ltd.

https://www.facebook.com/diesex


FINLAY SHAKESPEARE Ready Ready

“It’s an absolute rip off of OMD’s ‘2nd Thought’!” admitted Finlay Shakespeare of his glorious ‘Illusion + Memory’ album highlight ‘Ready Ready’. Almost Motorik in presence with a wonderfully pulsing drive and gorgeous synth tones, our hero doesn’t refrain from thoughts about “feeling at home through just a voice on the shortwave, when in fact you don’t know where you are and you could be in the crosshairs at any time and place.”

Available on the FINLAY SHAKESPEARE album ‘Illusion + Memory’ via Alter

http://finlayshakespeare.com/


SIERRA Stronger

Parisian producer Annelise Morel has been quietly impressing audiences over the past few years as SIERRA with her brand of intriguing darkwave. After several EP releases, her debut album ‘A Story Of Anger’ was a major artistic leap forward. Including collaborations with Carpenter Brut and HEALTH, the standout track was her autobiographical statement ‘Stronger’.

Available on the SIERRA album ‘A Story Of Anger’ via Universal Music

https://www.facebook.com/sierra.synthmusic


SOFT CELL The Day The World Turned Day-Glo

Always adept at doing covers having had hits with ‘Tainted Love’ and ‘What’, SOFT CELL presented a brilliant electro tribute to Poly Styrene with ‘The Day The World Turned Day-Glo’. Taking a musical leaf out of ‘Sex Dwarf’ with Dave Ball making his syndrums and synths sound so menacing yet accessible, while Marc Almond delivers a vocal recalling the anguish of ‘Martin’ with sleazy sax passages resonating with the dystopian lyrics.

Available on the SOFT CELL album ‘*Happiness now completed’ via BMG

http://www.softcell.co.uk


SOFTWAVE Taking Life For Granted

Despite its positive pop sound, the reflective lyrics on the second SOFTWAVE album ‘things we’ve done’ highlighted the challenges of living in a modern world full of dualities. ‘Taking Life For Granted’ saw the Danish duo of Catrine Christensen and Jerry Olsen go all ABBA-esque with someone “lacking gratitude” under attack, although the rousing chorus and a particularly joyous instrumental break gave the infinite hope.

Available on the SOFTWAVE album ‘things we’ve done’ via Electro Shock Records

http://www.softwavemusic.com/


RICKY WILDE X NINA Lovers On A Beach

A fabulous cover of the Italo flavoured Kim Wilde B-side to ‘The Second Time’ from 1984, the throbbing ‘Lovers On A Beach’ is NINA sounding sexier than ever before. Ricky Wilde said “I just thought there was a little bit more that it needed that I maybe wanted to add back in the day”. With sharp spikey edges boosting the trancey template, he provided a superb extended end section that paid homage to Giorgio Moroder in the best way possible.

Available on the RICKY WILDE X NINA album ‘Scala Hearts’ via New Retro Wave

https://twitter.com/Wildericky

https://www.iloveninamusic.com/


ZANIAS Lovelife

Following one of the most traumatic periods of her life, Alison Lewis returned as her solo alter-ego Zoe Zanias to present ‘Chrysalis’.  As the title suggests, it was a rebirth. With glorious arpeggios and lush synth strings, ‘Lovelife’ was bolstered with bass guitar by live bandmate Laura Bailey aka NEU-ROMANCER while an array of pitch-shifted voice samples acted as an abstract lead vocal before the actual one kicked in.

Available on the ZANIAS album ‘Chrysalis’ via Fleisch

https://www.facebook.com/zoe.zanias/


A selection of ELECTRICITYCLUB.CO.UK’s favourite music of 2023 featuring 230+ tracks has been compiled for its ‘Initial After Brilliance’ playlist


Text by Chi Ming Lai
7 December 2023

NNHMN Circle of Doom

Berlin-based couple NNHMN released their debut album ‘Church Of No Religion’ in 2019.

Since then, there have been a number of EPs including most recently ‘For The Comfort Of Your Exstazy’ which featured the strong body breakthrough of ‘Omen’ and its poignant anti-war message stating the true nature of evil.

Continuing that encapsulation of these unsettling times, “non-humans” Lee Margot and Michal Laudarg present their new album ‘Circle of Doom’ where they adapt their dark electronic body style with more varied dance elements.

Making use of a trance laden backbone and icy futurepop hooks, the German language ‘Hungrige Liebe’ embodies a Mittel Europa detachment in its spoken word, chosen as it “fits best to the theme of love and death”. Much more techno in construction and “a meditation on love, evil, sin and redemption”, ‘Gloomy Heart’ throbs in triplicate but adds an eerie choral vibe over the enticing club friendly action.

The wonderful glory of ‘Soldier of Beauty’ is more serene but no less danceable with a particularly hypnotic bassline and the viewpoint that the only honest thing to fight for is peace. Meanwhile, the tension on ‘NRL’ can be cut with a knife, described by NNHMN as “the pursuit of a vision, both personal and musical. The transmission of a cosmic solitude opera station”; the voice manipulations and wobbling electronic bass boost what comes over like BOY HARSHER invading Gatecrasher.

Photo by Cristina Del Barco

At a more steadfast pace, if it wasn’t for the airy lead vocals and cavernous reverb treatment, ‘Tiger’ could be mistaken for TECHNOTRONIC and that is not meant in a negative way. The minimally structured ‘Lush Longing’ could be Miss Kittin fresh out of carbon freeze, but the syncopated stomp of ‘Schizophrenic Vitamine’ retains the mystery if not the standard of its preceding tracks. However, ‘Unreal’ cuts an exotic if unsettling tone as it manoeuvres into classic body mode.

In its existential commentary’, ‘Circle Of Doom’ “mirrors the state of the world we are living in” and does it with a haunted enigmatic sound. With a widened electronic palette, it acts as enjoyable and engaging dance music for the party where the enemy at the door could well be scarily knocking soon…


‘Circle of Doom’ is released by Young and Cold Records and available as a CD, black vinyl LP + download from https://nnhmn.bandcamp.com/album/circle-of-doom

NNHMN 2023 live shows include:

Geneva La Makhno (17 June), Bolków Castle Party Festival (15 July), Cologne Amphi Festival (30 July), Prague Gothic Treffen (25 August), Oostende W-Festival (26 August)

https://www.nnhmn.com

https://www.facebook.com/nonhuman.duo

https://www.instagram.com/nnhmn_

https://www.patreon.com/NNHMN

https://open.spotify.com/album/0X9WIFpXDJdVEDP6tJrR6r


Text by Chi Ming Lai
2 June 2023, updated 16 June 2023

2022 END OF YEAR REVIEW

Photo by Tapio Normall

It was hoped to be a year of positive electricity but with the oddball burst of negative waves, 2022 was summed up by the title of its best album.

The product of Finnish duo SIN COS TAN, ‘Living In Fear’ captured the anxieties of living with The Bear Next Door in a post-pandemic world. With billionaires taking over social media with the intent of allowing the extreme right wing an increased voice, it was as if the lessons of Trump and Bolsonaro had not been learned.

‘The Wolves Are Returning’ warned xPROPAGANDA on a track from their excellent album ‘The Heart Is Strange’, the message coming from two Germans whose grandparents’ generation “did nothing” and had made the mistake of opening up the door to the Nazis was extremely poignant.

It was as if The Cold War had never ended; the poetry of one who has escaped ethnic genocide and been separated from next of kin as a refugee has substance. So for Alanas Chosnau on his second album with Mark Reeder, this was ‘Life Everywhere’ and provided a deeper statement on life during wartime. Meanwhile China’s STOLEN presented their ‘Eroded Creation’ and explained ‘Why We Follow’.

Battles both worldwide and personal were being reflected in music everywhere with ‘War’ by I SPEAK MACHINE being another example. Things did not get much cheerier with Rodney Cromwell whose long-awaited second long player ‘Memory Box’ provided commentary on a sadly post-truth world, the so-called “alternative facts” as Donald Trump’s extremely dim advisor Kellyanne Conway liked to put it.

The decade so far has not been a barrel of laughs and the likes of UNIFY SEPARATE, BOY HARSHER, O+HER, NNHMN, VANDAL MOON and ADULT. captured the zeitgeist of the past 3 years.

Meanwhile, MECHA MAIKO maintained it was still ‘NOT OK’, I AM SNOW ANGEL felt it was now a ‘Lost World’ and Swedish duo SALLY SHAPIRO made their comeback by reflecting on ‘Sad Cities’.

As sardonic as ever, DUBSTAR presented their second collection of kitchen sink dramas since they reconfigured as a duo with ‘Two’ and reunited with producer Stephen Hague for their most acclaimed record since their 1995 debut ‘Disgraceful’.

On a more optimistic note, Italians Do It Better brought their cinematic world to London with headline shows by DESIRE and MOTHERMARY who each had new long form releases to air, while shyness was nice for the most promising breakthrough act of the year Gemma Cullingford who got all ‘Tongue Tied’ on her second long player. Meanwhile DAWN TO DAWN, ULTRAFLEX and H/P offered electronically escapist solutions to the year,

But KID MOXIE was happy to ‘Shine’ with the best video of 2022 while CZARINA got mystical with ‘Arcana’, Karin Park looked back at her ‘Private Collection’ and Patricia Wolf explored ambience on ‘See-Through’. Other female talent that shone brightly in 2022 included Norway’s SEA CHANGE, Sweden’s Hanna Rua, Alina Valentina from The Netherlands, Mexican Valentina Moretti and Anglo-French avant songstress Julia-Sophie but sister / brother duos MINIMAL SCHLAGER and SPRAY proved siblings could continue to work well together in synth.

40 years after the release of their debut album ‘Happy Families’, BLANCMANGE returned home to London Records for a ‘Private View’ while mainman Neil Arthur was keeping himself busy with FADER too. Having being shelved for 30 years, the second ELECTRIBE 101 album ‘Electribal Soul’ finally saw the light of day. And some 39 years after it was first conceived, the lost Warren Cann and Hans Zimmer opus ‘Spies’ was released in a new 21st Century recording by the HELDEN Project’s lead vocalist Zaine Griff.

Although PET SHOP BOYS celebrated their career with the magnificent ‘Dreamworld’ tour for the best live event of 2022 and joined SOFT CELL in the ‘Purple Zone’, Marc Almond and David Ball presented the disclaimer ‘*Happiness Not Included’ before announcing that they would be performing at a run of outdoor events in 2023 despite having stated their 2018 O2 extravaganza would be their last.

Also having declared a final album in 2014, RÖYKSOPP returned with the triple volumed ‘Profound Mysteries’ that featured Susanne Sundfør and Alison Goldfrapp.

Veterans Howard Jones, William Orbit, Jean-Michel Jarre and Wolfgang Flür as well as long-standing Nordic combos LUSTANS LAKEJER and A-HA released new albums but while the quality across the releases was mixed, fans were loyal and happy. After various trials and tribulations, TEARS FOR FEARS returned with ‘The Tipping Point’ and erased memories of the lacklustre 2004 comeback ‘Everybody Loves A Happy Ending’, but the duo were unable to capitalise when the majority of the UK concert tour of stately homes was cancelled due to an unfortunate accident that befell Curt Smith.

Creating a dehumanised technologically dependent Sci-Fi world, DIE KRUPPS opted for more machine than metal under their EBM pseudonym DIE ROBO SAPIENS. With NASA making its first steps back to the moon with the Artemis project, fittingly Italian producer EUGENE spent ‘Seven Years In Space’ and Ireland’s CIRCUIT3 looked back at space travel’s past on ‘Technology For The Youth’. Back on earth, THE WEEKND was still being accused of stealing from synthwave while coming up with the song of the year in ‘Less Than Zero’. In the meantime, having infuriated audiences by saying “f*ck that ‘synthwave’ stuff as u name it” in 2018, KAVINSKY was ‘Reborn’ with a second album that had much less of the wave and expanded into broader electronically generated templates with the occasional funkier overtones.

Celebrating ‘40 Years Of Hits’ on a sell-out arena tour and issuing a new album ‘Direction Of The Heart’ which featured a guest appearance by Russell Mael of SPARKS on the single ‘Traffic’ with the obligatory ‘Acoustic Mix’, as the excellent book ‘Themes For Great Cities’ by Graeme Thomson highlighted, the best years of SIMPLE MINDS are now well behind them. They are a poor facsimile of the great band they once were and as a special Summer concert in Edinburgh in honour of ‘New Gold Dream’ proved, Jim Kerr and Co can’t even play their best album properly.

Music-related books continued to be popular with Martyn Ware and Karl Bartos respectively writing their memoirs ‘Electronically Yours Vol1’ and ‘The Sound Of The Machine’. In a wider historical context, that crucial 1978-1983 period where electronic pop was more or less invented got documented in the encyclopaedic ‘Listening To The Music The Machines Make’ by Richard Evans.

2022 saw several prominent figures depart for the jukebox in the sky; Vangelis, Manuel Göttsching, Angelo Badalamenti, Julee Cruise, Dave Smith, Herb Deutsch, Terry Hall, Robert Marlow and Andy Fletcher will be sadly missed but ELECTRICITYCLUB.CO.UK was particularly devasted by the passing of German electronic legend Klaus Schulze only 4 days after he gave a rare interview to the site.

Meanwhile Dave Gahan and Martin Gore announced yet another tour of underwhelming arena shows plonked into stadiums for an as-yet-unfinished album that at least had a title ‘Momento Mori’. Ticketscalper took advantage with so-called dynamic pricing (or legalised touting) as hapless Devotees were fleeced thousands of dollars in North America… all this just to see a continually ungrateful frontman (who didn’t even sing is own words on a DEPECHE MODE song until 2005) gesture with a microphone in the air on a catwalk rather than actually singing on it and to possibly hear a pre-1985 song performed that will inevitably ruined by The Drumhead and The Noodler!

As Juls Garat of Massachusetts goth band PILGRIMS OF YEARNING observed via social media: “If you’re spending a kidney on DEPECHE MODE tickets and not attending a local show this weekend, I don’t wanna see you complaining that there’s no scene, local venues or new music anymore”. With the lack of curiosity amongst audiences who were content with nostalgia and the like, it was a difficult year for independent acts.

There is no easy answer and as the old saying goes, you can take a horse to water but you can’t force it to drink. But one promoter that did hit on an innovative idea was Duskwaves who came up with afternoon synth gigs. Hosted at various locations in the South East of England with the aim of drumming up daytime weekend business at venues, events started at 2.00pm and ended by 6.00pm to allow for an easy journey home or possibly dinner afterwards. Artists such as YOUNG EMPRESS, INFRA VIOLET, STRIKE EAGLE and AUW joined in the family friendly fun and while the concept was unusual, with classic synth audiences not getting any younger, it has potential.

While the worldwide situation remains uncomfortable and unsettling, for The Cold War generation, it all seemed strangely familiar. As Jori Hulkkonen of SIN COS TAN said in an interview with ELECTRICITYCLUB.CO.UK recently: “It feels kind of comfortable to be back in that same state of mind that you grew up in!! It’s like you grew up in not a nice place, but you get 20-30 years out of it and then you get drawn back into The Cold War state of mind. It’s where I come from and there’s nothing good about it, but somehow feels very familiar so you can handle it in a different way”.

The Cold War inspired songs such as ‘Enola Gay’, ‘Fireside Favourite’, ‘All Stood Still’, ‘Let’s All Make A Bomb’, ‘I Melt With You’, ‘Dancing With Tears In My Eyes’ and ‘Five Minutes To Midnight’ which encapsulated the nuclear paranoia of the times. So if the current tensions go on any longer, how will artistic expression be affected and driven?

But as Synthesizer Patel actor Sanjeev Kohli wittily remarked of the UK’s 41 day Prime Minister aka Mad Lizzie following her successful leadership bid: “Liz Truss has now been trusted with the nuclear button. I honestly wouldn’t trust her with the bossanova button on a broken Yamaha keyboard”.

In a year which saw the bizarre scenario of a black vicar worshipping Enoch Powell on the repulsive gammon TV channel GB News and the truth about Tory PPE scandals becoming clearer, Richy Sunak, Ugly Patel, Cruella Braverman and Krazi Kwarteng continued to be the ultimate race traitors in their Westminster tribute band A FLOCK OF SIEG HEILS. Failing to look in the mirror, their role as collaborators was all as part of a wider self-serving mission to help keep the whites Reich and line the pockets of their already loaded banker mates instead of paying nurses a fair wage. Nurses are for life and not just for Covid. So what did happen to that £350 million promised for the NHS by that pompous lying posh boy Boris Johnson if Brexit happened? As Tim Burgess of THE CHARLATANS summed it all up rather succinctly on Twitter: “Worth remembering that the real enemy travels by private jet, not by dinghy” ✊😉


ELECTRICITYCLUB.CO.UK’s 2022 playlist ‘Stay Negative To Be Positive’ playlist can be listened to at https://open.spotify.com/playlist/4Mw0Fn10yNZQcrGzod98MM


Text by Chi Ming Lai
22nd December 2022

NNHMN Omen


With their name standing for “non-human”, Berlin-based duo NNHMN are possessed with a supernatural presence.

“Self-transforming creatures speaking in a colored language”, Lee Margot and Michal Laudarg present their haunted but danceable electronic sound with a stark brutalism and enigmatic female vocals.

From their upcoming EP ‘For The Comfort Of Your Exstazy’, the body is strong on its lead track ‘Omen’ and its pulsing backbone recalls THE CHEMICAL BROTHERS ‘Out of Control’.

In these unsettling times, ‘Omen’ captures the zeitgeist with a poignant anti-war message. NNHMN said “We can’t stand neutrally when this senseless war is turning into pure hell. The artist can’t stay neutral, the artist must use a weapon that is their strongest asset”. Stating the true nature of evil, it declares “So they worshipped the dragon giving the power unto the beast so now who’s able to make a war with him…”

The self-directed video exudes an underground voyeurism, described as “the world in which incarnations of ancient gods live. The modern urban techno panorama where sinister doom meets ethereal and untouchable higher self…”

Inspired by ‘The Cremaster Cycle’ films and ‘The Neverending Story’ with a touch of BDSM and bondage fashion, the video to ‘Omen’ is striking, seeing good triumphing over evil in a wish that many are feeling right now. So in “the rise of rebellion”, “dash yourself against the wall” and “shake it up rave it all rave it all away”.

NNHMN’s debut album ‘Church Of No Religion’ was released in 2019, but the couple have since gone down the EP route in pursuit of their non-conformist creative freedom with the appropriately titled ‘Your Body’ being a particular highlight from their most recent release ‘Tomorrow’s Heroine’.


‘Omen’ is from ‘For The Comfort Of Your Exstazy’ released by Young and Cold Records on 25th May 2022 as a black or lemon green 12” vinyl EP and CD, pre-order from https://nnhmn.bandcamp.com/

NNHMN 2022 live shows include:

Düsseldorf Kulturbanausen Im Ratinger Hof (16th April), Munich Katzenclub (17th April), Bologna Tank Serbatoio Culturale (29th April), Ilmenau Baracke 5 (7th May), Leipzig Festival (3rd June), Messina, Retronoveau (11th June), Paris, L’International (14th June), Lille Gare Saint Sauveur (16th June), Lyon Sonic (17th June), The Hague Paard (17th June)

https://www.nnhmn.com

https://www.facebook.com/nonhuman.duo

https://www.instagram.com/nnhmn_

https://www.patreon.com/NNHMN


Text by Chi Ming Lai
Photos by Caroline Bonarde
10th April 2022