Tag: Ollie Wride (Page 3 of 4)

2019 END OF YEAR REVIEW

15 December 2019 /

2019 was a year of 40th Anniversaries, celebrating the synth becoming the sound of pop when ‘Are Friends Electric?’ reached No1 in the UK chart in 1979.

While Gary Numan opted for ‘(R)evolution’ and two of his former sidemen RRussell Bell and Chris Payne ventured solo for the first time, OMD offered a 7 disc ‘Souvenir’ featuring a whole album of quality unreleased material to accompany a concert tour to celebrate four decades in the business. That was contrary to DEPECHE MODE who merely plonked 14 albums into a boxed set in a move where the ‘Everything Counts’ lyric “the grabbing hands grab all they can” became more and more ironic… Midge Ure partied like it was 1980 with the music of VISAGE and ULTRAVOX, while SIMPLE MINDS announced an arena tour for 2020 so that their audience could show Jim Kerr their hands again.

HEAVEN 17 announced some special showcases of the early material of THE HUMAN LEAGUE and got a particularly warm reception opening on tour for SQUEEZE as a trailer ahead of their own ‘Greatest Hits’ jaunt next year. Celebrating 20 years in music, there was the welcome return of LADYTRON with a self-titled comeback album, while Swedish evergreens LUSTANS LAKEJER performed the ‘Åkersberga’ album for its 20th Anniversary and similarly GOLDFRAPP announced a series of shows in honour of their magnificent cinematic debut ‘Felt Mountain’.

Cult favourites FIAT LUX made their intimate live comeback in a church in Bradford and released their debut album ‘Saved Symmetry’ 37 years after their first single ‘Feels Like Winter Again’. As a result, their fans were also treated to ‘Ark Of Embers’, the long player that Polydor Records shelved in 1985 when the band were on the cusp of a breakthrough but ended with a commercial breakdown.

Modern prog exponents Tim Bowness and Steven Wilson got back together as NO-MAN for their dual suite electronic concept record ‘Love You To Bits’, but an even more ambitious undertaking came from UNDERWORLD with their boxed set ‘Drift Series 1’. Also making live returns were one-time PET SHOP BOYS protégé CICERO with a charity gig in his hometown of Livingston, WHITE DOOR with JOHAN BAECKSTRÖM at Synth Wave Live 3, ARTHUR & MARTHA and Mute Records veterans KOMPUTER. After a short hiatus, the mighty KITE sold-out three gigs at Stockholm Slaktkyrkan and ended the year performing at an opera house, while GIORGIO MORODER embarked on his first ever concert tour where his songs were the stars.

Although their long-awaited-as-yet-untitled third album was still to materialise, VILE ELECTRODES went back on the road in Europe with APOPTYGMA BERZERK and THE INVINCIBLE SPIRIT. Meanwhile, Chinese techno-rock sextet STOLEN opened for NEW ORDER on their Autumn European tour and EMIKA performed in a series of Planetariums.

Despite the fall of The Berlin Wall 30 years ago, there were more evident swipes to the right than there had been for a long time, with the concept of Brexit Electro becoming a rather unpleasant reality. So in these more sinister times, the need for classic uplifting electronic pop was higher than ever.

To that end, three superb debut albums fitted the bill. While KNIGHT$ offered quality Britalo on ‘Dollars & Cents’, the suave presence of Ollie Wride took a more MTV friendly direction with ‘Thanks In Advance’. But for those wanting something more home produced, the eccentric Northern electronic pop of the brilliantly named INTERNATIONAL TEACHERS OF POP continued the artistic lineage of THE HUMAN LEAGUE. QUIETER THAN SPIDERS finally released their wonderful debut album ‘Signs Of Life’ which was naturally more understated and Denmark had some worthy synthpop representation with SOFTWAVE producing an enjoyably catchy debut long player in ‘Game On’.

On the shadier side of electronic pop, BOY HARSHER achieved a wider breakthrough with their impressive ‘Careful’ long player but as a result, the duo acquired a contemporary hipster element to their fanbase who seemed to lack manners and self-awareness as they romped around gigs without a care for anyone around them. But with tongues-in-cheeks, SPRAY continued to amuse with their witty prankelectro on ‘Failure Is Inevitable’.

Photo by Johnny Jewel

Italians Do It Better kept things in house as CHROMATICS unexpectedly unleashed their first album for six years in ‘Closer To Grey’ and embarked on a world tour. Main support was DESIRE and accompanied on keyboards by HEAVEN singer Aja, the pair took things literally during their cover version of ‘Bizarre Love Triangle’ with a girl-on-girl kiss in front of head honcho Johnny Jewel. Other ITIB acts on the tour dependent on territory included DOUBLE MIXTE, IN MIRRORS and KRAKÓW LOVES ADANA. But the best work to appear from the stable came from Jorja Chalmers who became ‘Human Again’.

There were a variety of inventive eclectic works from FAKE TEAK, MAPS, FINLAY SHAKESPEARE, ULTRAMARINE, TYCHO, THE GOLDEN FILTER, FRAGRANCE. and FADER. Meanwhile VON KONOW, SOMEONE WHO ISN’T ME and JAKUZI all explored themes of equality while BOYTRONIC preferred ‘The Robot Treatment’. But expressing themselves on the smoother side of proceedings, SHOOK who looked east towards the legend of YELLOW MAGIC ORCHESTRA.

Dark minimalism reigned in the work of FRAGILE SELF and WE ARE REPLICA while no less dark but not so aggressive, WITCH OF THE VALE cemented their position with a well-received opening slot at Infest. Dubliner CIRCUIT3 got political and discussed ‘The Price Of Nothing & The Value Of Everything’.

2019 was a year of electronic instrumental offerings galore from NEULAND, Ricardo Autobahn, EKKOES, M83, RELIEF, FEMMEPOP and OBLONG, although Eric Random’s dystopian offering ‘Wire Me Up’ added vocoder while Brian Eno celebrated the 50th anniversary of the first moon landing ‘For All Mankind’.

The King of Glum Rock Lloyd Cole surprised all with an electronic pop album called ‘Guesswork’ just as PET SHOP BOYS set an ‘Agenda’. HOWARD JONES released his most synthy work for years in ‘Transform’ and while CHINA CRISIS acted as his well-received support on the UK leg of his 35th Anniversary tour, their front man Gary Daly ventured solo with ‘Gone From Here’.

Among the year’s best new talents were IMI, Karin My, Greta,  Geiste and Alice Hubble with their beautifully crafted avant pop. And with the media traction of artists such as GEORGIA, REIN, JENNIFER TOUCH, SUI ZHEN, THE HEARING, IONNALEE, PLASMIC, ZAMILSKA, IOANNA GIKA, SPELLLING, KANGA, FIFI RONG and I AM SNOW ANGEL, the profile of women in electronic music was stronger than ever in 2019.

Sweden continued to produce quality electronic pop with enjoyable releases from the likes of MACHINISTA, PAGE, COVENANT, OBSESSION OF TIME and LIZETTE LIZETTE. One of the most interesting acts to emerge from the region was US featuring the now Stockholm-domiciled Andrew Montgomery from GENEVA and Leo Josefsson of LOWE, with the catalyst of this unlikely union coming from a shared love of the late country legend Glen Campbell. Meanwhile, veteran trio DAYBEHAVIOR made the best album of their career ‘Based On A True Story’.

However, Canada again gave the Swedes a good run for their money as ELECTRIC YOUTH and FM ATTACK released new material while with more of a post-punk slant, ACTORS impressed audiences who preferred a post-post-punk edge alongside their synths.Dana Jean Phoenix though showed herself to be one of the best solo synth performers on the live circuit, but artistically the best of the lot was MECHA MAIKO who had two major releases ‘Okiya’ and ‘Let’s!’.

Despite making some good music in 2019 with their ‘Destroyer’ two-parter, the “too cool for school” demeanour of TR/ST might have impressed hipsters, but left a lot to be desired. A diva-ish attitude of entitlement was also noticed by ELECTRICITYCLUB.CO.UK to be disappointingly prevalent in several fledgling acts.

Synthwave increased its profile further with the film ‘The Rise Of The Synths’ narrated by none other than John Carpenter. MICHAEL OAKLEY released his debut album ‘Introspect’, BETAMAXX was ‘Lost In A Dreamworld’, COM TRUISE came up with a ‘Persuasion System’ and NEW ARCADES were ‘Returning Home’.

Scene veteran FUTURECOP! collaborated with PARALLELS, COMPUTER MAGIC and NINA prior to a hiatus for the foreseeable future, while there were promising new talents emerging in the shape of POLYCHROME, PRIZM, BUNNY X and RIDER. However, several of the sub-genre’s artists needed to rethink their live presentations which notably underwhelmed with their static motions and lack of engagement.

While promoters such as Outland developed on their solid foundations, others attempted to get too big too soon like the musical equivalent of a penis extension, leaving fans disappointed and artists unpaid. Attempting to turnover more than 10 acts during in a day with a quarter of an hour changeover has always been an odious task at best, but to try 15?!? One hopes the headliners were well paid despite having to go on at midnight when most of their supporters went home so as not to miss the last train…

Now at times, it was as if a major collective midlife crisis had hit independent electronic music in the UK during 2019. It was not unlike how “born again bikers” have become a major road safety risk, thanks to 40somethings who only managed Cycling Proficiency in Junior School suddenly jumping onto 500cc Honda CMX500 Rebel motorcycles, thinking they were Valentino Rossi.

Something similar was occurring in music as a variety of posturing delusional synth owners indulged in a remix frenzy and visions of grandeur, forgetting that ability and talent were paramount. This attitude led to a number of poorly attended events where attendees were able to be counted on one hand, thanks to clueless fans of said combos unwisely panning their video footage around the venue.

Playing at 3:15pm in an empty venue is NOT performing at a ‘major’ electronic festival… “I’ll be more selective with the gigs I agree to in the UK” one of these acts haplessly bemoaned, “I’ve played to too many empty rooms!” – well, could that have been because they are not very good?

Bands who had blown their chance by not showing willingness to open for name acts during holiday periods, while making unwise comments on their national TV debut about their lack of interest in registering for PRS, said they were going to split a year in advance, but not before releasing an EP and playing a farewell show in an attempt to finally get validation for their art. Was this a shining example of Schrodinger’s Band?

Of course, the worst culprits were those who had an internet radio show or put on gigs themselves so that they could actually perform, because otherwise external promotors were only interested in them opening at 6.15pm after a ticket deal buy on for a five band bill. Humility wouldn’t have gone amiss in all these cases.

It’s a funny old world, but as ELECTRICITYCLUB.CO.UK comes up to concluding its tenth year as an influential platform that has written extensively about not one or two or three or four BUT five acts prior to them being selected to open on tour for OMD, luckily the gulf between good and bad music is more distinct than ever. It will be interesting to see if the high standard of electronic pop will be maintained or whether the influx of poor quality artists will contaminate the bloodline.

So ELECTRICITYCLUB.CO.UK ends the decade with a complimentary comment by a punter after attending two of its live events: “You don’t put on sh*t do you…”

May the supreme talent rise and shine… you know who you are 😉

ELECTRICITYCLUB.CO.UK Contributor Listings of 2019

PAUL BODDY

Best Album: UNDERWORLD Drift Series 1
Best Song: MOLINA Venus
Best Gig: RAMMSTEIN at Milton Keynes MK Bowl
Best Video: SCALPING Chamber
Most Promising New Act: SCALPING

IAN FERGUSON

Best Album: NO-MAN Love You To Bits
Best Song: NO-MAN Love You To Shreds
Best Gig: RAMMSTEIN at Stadion Slaski Chorzow
Best Video: RAMMSTEIN Deutschland
Most Promising New Act: IMI

SIMON HELM

Best Album: PAGE Fakta För Alla
Best Song: PAGE Fakta För Alla
Best Gig: LAU NAU at London Cafe OTO
Best Video: LAU NAU Amphipoda on Buchla 200 at EMS Stockholm
Most Promising New Act: THE HIDDEN MAN

CHI MING LAI

Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: KITE at Stockholm Slaktkyrkan
Best Video: NIGHT CLUB Your Addiction
Most Promising New Act: IMI

RICHARD PRICE

Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: MIDGE URE at The London Palladium
Best Video: IMI Margins
Most Promising New Act: PLASMIC

MONIKA IZABELA TRIGWELL

Best Album: MECHA MAIKO Let’s
Best Song: KANGA Burn
Best Gig: DANA JEAN PHOENIX, KALAX + LEBROCK at London Zigfrid von Underbelly
Best Video: IONNALEE Open Sea
Most Promising New Act: PRIZM

Text by Chi Ming Lai with thanks to Ian Ferguson
16th December 2019, updated 29th Janaury 2021

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2019

4 December 2019 /

2019 was good for new music. The first two thirds of the year was particularly strong for up-and-coming talent, while a number of veterans returned to making music with synths for the first time in many years.

Inevitably, the quality of new releases couldn’t be sustained and things tailed off during the Autumn period as artists shifted their focus towards the live arena. The launch of debut full-length releases by relative newcomers has tended to focus towards the winter in order to pitch to the deluge of tastemaker polls that are now prevalent both in mainstream and online media.

Of course, ELECTRICITYCLUB.CO.UK is unable to include everything in its 30 SONGS OF 2019, so worthy mentions go to SHOOK, CIRCUIT 3, KANGA, FRAGILE SELF, NINA, THE HEARING, JAKUZI, TR/ST, SPELLLING, I AM SNOW ANGEL, PET SHOP BOYS, NO-MAN, RIDER, FRAGRANCE. and T.O.Y. for their output this year.

As per usual with a restriction of one song per artist moniker and presented in alphabetical order, these are ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2019…

APOPTYGMA BERZERK A Battle For The Crown

Over the 25 years since his debut album ‘Soli Deo Gloria’ , Stephan Groth has straddled EBM, synthpop, futurepop, alternative rock and more recently instrumentals with APOPTYGMA BERZERK. For his first new material since 2016’s ‘Exit Popularity Contest’, the upcoming EP ‘Nein Danke!’ sees a return to the synthpop / new wave format. Part of a teaser single, ‘A Battle For The Crown’ offered a suitably matted austere but crucially did not forget the hooks or the melodies.

Available on the EP ‘Nein Danke!’ via Pitch Black Drive

http://www.theapboffice.com/

BOY HARSHER LA

Stark Massachusetts duo BOY HARSHER formed through an urgent need to produce and consume, so Jae Matthews and Augustus Muller utilised their minimal electronics and intense mindset to create a compelling narrative of deterioration. ‘LA’ featured a wonderfully incongruous mix of icy string synths and orchestra stabs for an enticing display of mutant electronic disco, all brilliantly sinister thanks to its varied use of effects and Matthews’ mournful demeanour.

Available on the album ‘Careful’ via Nude Club Records

https://boyharsher.com/

JORJA CHALMERS She Made Him Love Again

Jorja Chalmers is the sax and keys player for Bryan Ferry but while it was recorded in her boss’ studio, her first solo album ‘Human Again’ exuded a more sombre filmic disposition. Conceived and sketched in hotel rooms during the come down from playing to packed theatres around the world. ‘She Made Him Love Again’ was a song where Chalmers’ breathy vocals possessed a gorgeous forlorn allure and when the icy string machine and deep sax joined in, proceedings lifted to another level.

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

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

LLOYD COLE Violins

Lloyd Cole had recorded an experimental electronic album ‘Selected Studies Vol 1’ with Hans-Joachim Roedelius of CLUSTER in 2013, while there was also a solo instrumental collection entitled ‘1D Electronics 2012-2014’. But he put all of that modular knowhow into a song based format with the charming synthy single ‘Violins’ which saw him turn into OMD! However the King of Glum Rock didn’t totally alienate his main fan base, with guitars making their presence felt in amongst all the machinery at the halfway point.

Available on the album ‘Guesswork’ via earMUSIC

https://www.lloydcole.com/

GARY DALY I Work Alone

CHINA CRISIS have been an unlikely influence on acts such as VILLA NAH and MIRRORS, but while these days their synthwork is less pronounced, front man and keyboardist Gary Daly took the plunge with a full length solo record entitled ‘Gone From Here’. The wonderful first single ‘I Work Alone’ acted as both a statement of intent and an affirmation in self-belief. A lovely whimsical piece of Casiotone folktronica, Daly said “it’s very much ‘Neon Lights’ meets ‘Autobahn’”

Available on the album ‘Gone From Here’ via https://www.musicglue.com/gary-daly

https://www.instagram.com/garydalymusic/

DAYBEHAVIOR Driving In My Car

With a range of tempo variation, ‘Based On A True Story’ was the undoubtedly the best album of Swedish trio DAYBEHAVIOR’s long if sporadic career. Including a number of more danceable numbers to counterpoint the more laid back aspects of their cinematic sound without losing any of their exquisite aesthetics, one of the best examples could be heard in the fabulous Europop number ‘Driving In My Car’. It was just one part of a priceless collection of quality Scandipop.

Available on the album ‘Based On A True Story’ via Graplur

http://www.daybehavior.com

FIAT LUX We Can Change The World

Nearly four decades is a long time to wait for a debut album, but with Wakefield’s FIAT LUX, it was been worth it. Recalling BLACK and CHINA CRISIS, the guarded optimism of ‘We Can Change The World’ provided a call to action in these turbulent times within an uptempo setting dressed with bubbling synths and rousing dual vocals sweetened by smooth sax. Steve Wright and David P Crickmore honoured their late band mate Ian Nelson in the best way possible with their recorded and live return.

Available on the album ‘Saved Symmetry’ via Splid Records

http://www.fiat-lux.co.uk/

GEORGIA About Work The Dancefloor

Georgia Barnes is the daughter of LEFTFIELD’s Neil Barnes and the former drummer for Kate Tempest. Although her eponymous debut album possessed a more urban DIY feel, her sound has recently moved into more accessible electronic pop territory. From upcoming second album ‘Seeking Thrills’, the gloriously throbbing workout of ‘About Work The Dancefloor’ took its lead from ROBYN with its rousing Scandipop sheen, offset by a creepy distorted vocal refrain.

Available on the album ‘Seeking Thrills’ via Domino Recordings

https://georgiauk.com/

GRETA White

A Copenhagen domiciled German, classically schooled Greta Louise Schenk teamed up with Norwegian producer FARAO to enter a dreamy synthpop universe. With its unusual rhythmic structure and chromatic overtones, ‘White’ could have been an art rock number? “I often wonder how this song came out of me” she said, “I actually wrote it on my Irish bouzouki, which may explain the chords. I was listening a lot to LANA DEL REY and it was quite a dark time in my life.”

Available on the EP ‘Ardent Spring – Part I’ via Celebration Records,

https://www.facebook.com/greta.geschenk/

HEAVEN Truth Or Dare

Another project of Johnny Jewel, HEAVEN first came to wider attention with the ‘Lonesome Town’ EP. Fronted by the enigmatic allure of singer and keyboardist Aja, the brilliant ‘Truth Or Dare’ perhaps unsurprisingly sounded like CHROMATICS but with more synths and drum machine. While on tour as keyboardist with DESIRE, Aja took the title literally when they performed a cover of NEW ORDER’s ‘Bizarre Love Triangle’ and Jewel watched nearby…

Available on the single ‘Truth Or Dare’ via Italians Do It Better

https://www.instagram.com/heaven_idib/

ALICE HUBBLE We Are Still Alone

ALICE HUBBLE is the new solo project of Alice Hubley, previously best known for fronting ARTHUR & MARTHA and COSINES. Hubley’s synth earth mother demeanour came to the fore on the sub-OMD of ‘We Are Still Alone’. While the lilting bass and elegiac transistorised melody were glorious, when the synth strings responded in that ASHRA style, it became perfect avant pop with Hubley sadly resigning to herself that she “couldn’t find the way to make me better”.

Available on the album ‘Polarlichter’ via Happy Robots Records

https://www.happyrobots.co.uk/alice-hubble

IMI I Feel Alright

Leeds based singer / songwriter IMI is gifted with a most glorious soprano but she applies that and her love of analogue synths to an intelligent avant pop aesthetic. ‘I Feel Alright’ with its sharp melodic call and ethereal voices headed into assertive optimism. This most promising young synth talent said to ELECTRICITYCLUB.CO.UK: “This song was written after a few years of struggling with some personal issues and it was a celebration of finally feeling ok and feeling hopeful about the future.”

Available on the EP ‘Lines’ via https://imimusicuk.bandcamp.com/

https://www.facebook.com/imimusicuk/

INTERNATIONAL TEACHERS OF POP Love Girl

Hailing from Sheffield, INTERNATIONAL TEACHERS OF POP and their world of academia would make “eccentric Northern electronic pop” compulsory on the curriculum. From their vibrant and accessible self-titled debut album, the bubbly ‘Love Girl’ was a luscious cross between DUBSTAR and THE HUMAN LEAGUE. Cosmic but catchy, their intelligent musical escapism has been just the tonic in these turbulent times. One of their manifesto statements is “Smile at the neon and the mirrorball”.

Available on the album ‘International Teachers Of Pop’ via Desolate Spools

https://www.facebook.com/internationalteachersofpop/

HOWARD JONES Hero In Your Eyes

Producing his most synthpop work in ages, originally from the ‘Eddie The Eagle’ film sessions, Howard Jones said of ‘Hero In Your Eyes’: “I was really drawn to the part where his parents were amazing, continuing to believe in him when he was obviously not really very good at what he’d chosen to do, they kept supporting him. So him being a hero in their eyes always, that ‘I’ll be there for you’ feeling, I thought that it was something a lot of people could relate to”

Available on the album ‘Transform’ via Dtox Records

http://www.howardjones.com/

KNIGHT$ Hijack My Heart

Coming over like the love child of Richard Butler and Neil Tennant, KNIGHT$ made synthwaves with his sparkly Britalo on his energetic debut album ‘Dollars & Cents’. The Hi-NRG romp of ‘Hijack My Heart’ aped BRONSKI BEAT complete with a closing bursts of falsetto as the Winchester lad tightened his glitzy clubbing trousers to full effect and even dropped in a blistering synth solo to add to the fun. It was a highlight on one of the best albums of 2019.

Available on the album ‘Dollars & Cents’ via Specchio Uomo

https://knights101.com/

LADYTRON Deadzone

LADYTRON produced their last offering ‘Gravity The Seducer’ in 2011. Their recent heavier self-titled reboot saw the quartet of Helen Marnie, Mira Aroyo, Daniel Hunt and Reuben Wu entering the ‘Deadzone’. Unsettlingly percussive and full of tension but hitting the spot with the right dose of melodic elements intertwined with haunting grit and grime, LADYTRON were back with a sucker punch. All in all, it was a fantastic comeback.

Available on the album ‘Ladytron’ via !K7

http://www.ladytron.com/

LIZETTE LIZETTE Computer Game

LIZETTE LIZETTE is Lizette Nordahl, a gender neutral Swedish / Peruvian producer and performance artist whose first mini-album album ‘Queerbody’ was released 2017. The beautifully sad Nordic synth ballad ‘Computer Game’ was written in tribute to a departed friend. Showcasing Nordahl’s more emotive side, it was a quality that had not been obviously apparent in LIZETTE LIZETTE’s more danced-based recordings.

Available on the EP ‘Non’ via https://lizettelizette.bandcamp.com/

http://lizettelizette.com/

MACHINISTA Anthropocene

Reflecting gloomier times, ‘Anthropocene’ saw MACHINISTA produce their most consistent body of work yet. Vocalist John Lindqwister and instrumentalist Richard Flow took their time in a refinement of their anthemic signature sound and the addition of some conventionally flavoured twists. The title song took its lead from the dark electronic pop of Norway’s APOPTYGMA BERZERK and owed more than a debt to the haunting riff of ‘Burning Heretic’ in the ultimate sorcerer’s apprentice spell.

Available on the album ‘Anthropocene’ via Infacted Records

https://www.machinistamusic.com/

MECHA MAIKO Apathy

Behind the quirky avant pop of MECHA MAIKO‬ is the talented Canadian Hayley Stewart. ‘Apathy’ from her new album ‘Let’s!’ can only be described as delightfully nuts, with an inventive mix of a jazz swing Charleston vibe, frantic techno dance beats and vibrant synthpop hooks. It showed she was not afraid to blend seemingly incongruous influences to get an end result and with a slight sprinkling of Japanese instrumentation to close, the eclectic creative cycle was complete!‬‬‬‬‬

Available on the album ‘Let’s!’ via ORO Records

https://www.mechamaiko.com/

KARIN MY The Silence

Swedish songstress Karin My sang with veteran combo TWICE A MAN on their poignant environmental catastrophe warning ‘High In The Clouds’ in 2105. Her solo single ‘The Silence’ was one of the first truly great songs of 2019. Swathed in beautiful synths and embroiled in that wonderful Scandinavian melancholy, her gorgeous vocals evoked a forlorn abandonment just as a wintery chill set in with the sad dilemma of whether to give up…

Available on the single ‘The Silence’ via Ad Inexplorata

http://www.karinmy.net/

MICHAEL OAKLEY Left Behind

The mighty Italo Disco statement of ‘Left Behind’ came complete with obligatory orchestra stabs and a rousing chorus, gleefully fusing SAVAGE, RAF, PET SHOP BOYS and BEE GEES within a big Trevor Horn styled kitchen sink! But despite the fun laden octave shift frenzy, the lyrics were concerned with midlife reflection. Michael Oakley said: “the song is about me feeling like everyone around me was getting settled in their career, getting married and taking out a mortgage.”

Available on the album ‘Introspect’ via NewRetroWave

https://www.facebook.com/MichaelOakleyOfficial/

OBLONG Echolocation

Every now and then, the world needs a lively unpretentious synth instrumental record. With the second OBLONG album ‘The Sea At Night’, the trio of Benge, Dave Nice and Sid Stronarch delivered a collection of rustic electro-acoustic organically farmed electronica! With mood and pace, ‘Echolocation’ was a classic synth instrumental with its crystalline textures and charming slightly off-key blips, aurally reflecting the remote moorland location in Cornwall where it was recorded.

Available on the album ‘The Sea At Night’ via Memetune Recordings

https://twitter.com/oblongtheband

OMD Don’t Go

OMD began their recorded career with a KRAFTWERK homage and four decades on, they came full circle. A great grandchild of Klingklang and cousin of ‘Metroland’ from ‘English Electric’ but refined for BBC Radio 2 airplay, ‘Don’t Go’ captured the essence of OMD’s enduring electronic appeal. With crystalline synth melodies from Humphreys and a spirited vocal delivery from McCluskey attached to a hypnotic Synthanorma backdrop, OMD continue to produce quality avant pop tunes.

Available on the album ‘Souvenir: The Singles Collection 1979 – 2019’ via Universal Music

http://www.omd.uk.com/

PLASMIC Famous

Feisty, fiery and on-message as “your abused Barbie doll from childhood”, Lauren Lusardi, better known as PLASMIC dropped yet another synth bomb with a vivid narrative on the fame game where women have to compromise and serve the male gaze to get to where they want. While pink is her colour, the rugged lo-fi cocoon of anxious sound penetrated the soul with a raging reminder that if “You wanna be famous?”, then really “Don’t be so f*cking brainless!”

Available on the single ‘Famous’ via CandyShop Recordings

https://www.facebook.com/plasmicpower/

QUIETER THAN SPIDERS Komarov

“Beautiful melodies telling me terrible things” said a cartoon meme… with echoes of OMD, the life and death of the tragic Soyuz 1 cosmonaut Vladimir Komarov was captured poignantly in this instrumental by QUIETER THAN SPIDERS from their brilliant debut album ‘Signs Of Life’; Yi Fan from the anonymous Chinese synth trio said: “we were moved by the human story behind it all together with the haunting backdrop of primitive space experimentation.”

Available on the album ‘Signs Of Life’ via https://annaloguerecords.bandcamp.com/album/signs-of-life-2cd-version-master

https://www.facebook.com/QTSpiders/

SOFTWAVE No Need To Hide

Danish duo SOFTWAVE have been gaining momentum with endorsements from luminaries such as ex-members of THE HUMAN LEAGUE Jo Callis and Ian Burden, while improving enormously since their 2016 debut EP ‘Together Alone’. Punctuated by machines of ice, ‘No Need To Hide’ was undoubtedly Clarkean, celebrating positivity in possibly SOFTWAVE’s finest moment yet with one of those rousing Scandipop choruses and coming over not unlike Celine Dion fronting ERASURE.

Available on the album ‘Game On’ via https://softwave.bandcamp.com/

http://www.softwavemusic.com/

FIFI RONG Way Out

The powerful electro R’N’B tinged ‘Way Out’ was the first English language taster from Beijing-born songstress’ ambitious new Anglo-Mandarin bilingual album project. Fifi Rong said of her concept: “I’m making a double album. One album in Chinese and the other in English. Not the typical type of translation type of bilingual album from one language to another… So the two albums are all individual songs interlinked in sounds, themes, vibes.”

Available on the single ‘Way Out’ via W Records

http://www.fifirong.com/

US Voyager

Andrew Montgomery, best known as the vocalist of GENEVA who scored hits with ‘Into The Blue’ and ‘Best Regrets’ in 1997, teamed up with Leo Josefsson of Stockholm trio LOWE to form the electronic duo US. If Jeff Buckley had dumped his Fender Telecaster for a Korg MS20, then that is the dark anthemic sound of US. ‘Voyager’ went all spacey avant trance in a wonderful cross-pollination of styles that came over a bit like MUSE at Gatecrasher.

Available on the album ‘First Contact’ via US Music Space

http://www.usmusicspace.com/

WITCH OF THE VALE Trust The Pain

It was a big year for WITCH OF THE VALE as their highly spirited otherworldly sound, deeply rooted in Celtic folklore and Wiccan beliefs, found a sympathetic audience at Infest 2019. The eponymous track from their second EP introduced serene, yet uncertain feelings channelled via clear but eerie vocals over the croon from a raven. This angelic ballad put all the fears to sleep and demonstrated how Erin and Ryan Hawthorne sound are like nothing else within the world of modern electronica.

Available on the EP ‘Trust The Pain’ via https://witchofthevale.bandcamp.com/

https://www.facebook.com/witchofthevale/

OLLIE WRIDE The Driver

Although best known as the lead vocalist for FM-84 on ‘Running In The Night’, Ollie Wride unleashed his debut solo album in 2019. The Driver’ put into dynamic realisation as to what SIMPLE MINDS might have sounded like had Moroder-graduate Keith Forsey produced the 1985 ‘Once Upon A Time’ album instead of Jimmy Iovine and Bob Clearmountain. The superb grouchy synth rock saw the Brighton boy successfully pull off a cross between Jim Kerr and Billy Idol!

Available on the album ‘Thanks In Advance’ via NewRetroWave

https://www.facebook.com/olliewrideofficial/

ELECTRICITYCLUB.CO.UK’s has compiled a playlist of some of its favourite music from 2019

Text by Chi Ming Lai
4th December 2019

OLLIE WRIDE Live at Camden Assembly

29 November 2019 /


If Billy Idol was punk’s crossover success story into the international mainstream, then Ollie Wride could become synthwave’s…

Although best known as the voice for FM-84 and featuring on the acclaimed 2016 album ‘Atlas’, Wride’s recently released solo debut ‘Thanks In Advance’ co-produced by Michael Oakley proved that the suave Brightonian could cut it outside of the nest.

Channelling his inner Lindsey Buckingham with a dash of Kenny Loggins, ‘Thanks In Advance’ possessed swagger, style and most importantly of all, good tunes. Embracing that Trans-Atlantic friendly sound which was once the staple of MTV when it bothered to play music, OLLIE WRIDE unashamedly partied like it was 1985.

Indeed for his sold out debut solo show at London’s Camden Assembly, that era was effectively recreated and began in earnest with the feisty synth rock of ‘The Driver’. Coming over like a cross between Jim Kerr and Billy Idol, its groovy vibe brought to mind the productions of Keith Forsey who not only worked with SIMPLE MINDS, THE PSYCHEDELIC FURS and ICEHOUSE but also the man born William Michael Albert Broad.

Having also co-wrote ‘Flashdance… What A Feeling’, ‘The Never Ending Story’ and ‘Don’t You (Forget About Me)’, the former Giorgio Moroder apprentice and drummer could in some ways be seen something of an indirect muse in The World of Wride, such has been Forsey’s impact on the cultural landscape.

With a natural energetic on-stage charisma, Wride was effectively off the leash as he posed and strutted along the ‘Miracle Mile’. Following on, the rousing ‘Never Live Without You’ rocked with a fine balance of synths and guitar; backed on the latter by Josh Dally who played with Wride in FM-84, drum duties were conducted by another FM-84 cohort James Cross who did a superb job to compliment the electronically laden sound and crucially, did not overplay.

The TEARS FOR FEARS drive time shuffle of ‘Overcome’ kept the momentum going as Wride played the keytar man but for the gently percussive ballad ‘The Rising Tide’ with its hints of MR MISTER, he walked over to his M-Audio keyboard before settling down Richard Marx style for the appropriately moonlit ‘Luna’.

A nice surprise from the soon-to-be-issued deluxe edition of ‘Thanks In Advance’ came with ‘Stranger Love’, a new collaboration with SUNGLASSES KID which perhaps unsurprisingly sounded like a NINA track but with a male vocal.

However, this premier got trumped by an unexpected cover of Peter Gabriel’s ‘Sledgehammer’ with its classic art funk satisfying the enthusiastic crowd and perhaps summing up Ollie Wride’s ultimate ambitions. To close the main set, a hypnotising performance of the brilliant ‘I’m A Believer’ saw its synthy cascade point towards Hollywood but what everyone wanted now was an encore.

With chants from the audience of “ONE MORE SONG!”, Wride actually gave them two in the shape of the soulful pop of ‘Back To Life’ and ‘Running In The Night’, probably his best known song with FM-84. With an anthemic state of tension and urgency in the vein of ‘The Boys of Summer’, the response from all those present was nothing short of ecstatic with a mass communal singalong.

One thing that stood out tonight was Wride’s endearing stage craft which was not only engaging but also probably as good George Michael when he was in his live prime.

What Ollie Wride has managed to do is straddle a variety of musical styles and blend them into a melting pot of accessible pop. Some might consider it bland, but others call it entertaining and his aspirational persona is a refreshingly uplifting tonic in these darker times.

So don’t snooze and lose when he next performs somewhere near you. If there is any justice, he will be playing arenas within a few years and it won’t be so easy to get so close to one of the scene’s undoubted stars.

With thanks to Outland

‘Thanks In Advance’ is still available in various formats from https://olliewride.bandcamp.com/album/thanks-in-advance-2

https://olliewride.com/

https://www.facebook.com/olliewrideofficial/

https://twitter.com/OllieWride

https://www.instagram.com/olliewride/

https://www.weloveoutland.com/

Text by Chi Ming Lai
Photos by Gina-Leigh Smith at Photo-G-Nic
29th November 2019

OLLIE WRIDE Interview

31 July 2019 /

Although best known as the voice for FM-84, Ollie Wride has ventured solo with his recently released debut album ‘Thanks In Advance’, co-produced by Michael Oakley.

And while songs like ‘Running In The Night’ and ‘Wild Ones’ with FM-84 made him more widely known within Synthwave circles, ‘Thanks In Advance’ explores more dynamic synth-led territory with an FM rock flavour, particularly in songs like ‘The Driver’, ‘Miracle Mile’ and ‘Never Live Without You’, although there are more balladic numbers too like ‘Luna’.

A very immediate pop album with a suave presence and that classic MTV friendly feel, the positive acclaim for ‘Thanks In Advance’ has led to Wride announcing his first solo concert in London at Camden Assembly on Saturday 16th November 2019.

With only a few tickets remaining for the Outland hosted show, Ollie Wride talked about his career to date, both with FM-84 and solo, plus his future plans.

What led you to depart the UK for the USA, was it purely musical or was it more romantic, inspired by the films and TV shows of your youth?

Firstly, thank you so much for having me Chi and for your unwavering support. Just to clarify I am still a UK resident! I do however spend a large portion of my time stateside, predominantly due to work as well as some of my closest friends and colleagues are based there. You’ve got to go where the action is! As for being inspired by pop culture into taking the leap – doesn’t everyone at some point in their youth fantasise about getting on a Jumbo Jet and making for the West Coast to go and carve a career in Rock n Roll… or “tech” nowadays?

Who are your key musical influences? ELECTRICITYCLUB.CO.UK can’t help hearing Lindsey Buckingham in your voice but we mean that as a compliment 😉

That’s a heavy compliment to drop, one that I shan’t take lightly. You’ve hit the nail on the head with Buckingham, we’re talking that kind of pedigree generally here. I’m transparent as far as the term “influence” goes, I wear them on my sleeve, I’m sure it would come as no surprise to some reeling off David Bowie, Bryan Ferry / Roxy, Peter Gabriel and QUEEN as key players. I could go on…

Musical influences clearly from your youth then! So where did you grow up and get your education if I may ask?

I was born in East Riding of Yorkshire and attended Pocklington School until 2006 and after that I moved to Brighton where I studied at Brighton Institute of Modern Music (BIMM) from 2007 until 2009.

You’re best known as the voice of FM-84, the project of San Francisco-based Scotsman Col Bennett, how did that association come about?

The genesis stemmed from when I was first made aware of the retro wave genre by my long time friend and collaborator Josh Dally back in 2015. I don’t recall the precise ins and outs, but he was working with Jordy aka TIMECOP1983 on the ‘Reflections’ record which would later become ‘Let’s Talk’ and suggested I got involved.

I had just come out of a deal in LA, and being candid I was pretty jaded and burnt out… my only real concern was how was I going to make the next rent cheque, let alone get back in the saddle musically! However, Josh twisted my arm and Jordy and I quickly hit it off. ‘Wild Love’ was the result and reignited my enthusiasm.

Shortly after, I started to familiarise myself with the up and coming producers in the scene, one of whom happened to be Col (FM-84) and the ‘Los Angeles EP’, I quickly developed a large affinity with it. So much so, I paired one of my ideas to his instrumental ‘Out Of Time’ before we ever even spoke. The serendipity came when Col approached me to work on the record that would later be called ‘Atlas’, having heard ‘Wild Love’. It was only by chance that we were huge fans of one another’s work! The rest they say, is history…

So how would FM-84 tracks like ‘Running In The Night’ and ‘Wild Ones’ have evolved in the studio, and at which stage would you have been asked to get involved?

‘Running In The Night’ was the first song we wrote together, believe it or not! In that particular instance, Col had a pretty defined template that he had initially worked on with another writer, but to no avail. I took the instrumental and sat with it, reworking at the piano for about two weeks I recall.

Using the verse progression as a springboard, I had the chorus locked in pretty quickly after re-harmonising the chord structure to give it that sense of tension and urgency – it breathed a new lease of life into it I felt, although I was still unsure whether he’d go for it. Still, from there the verse lyric and melody soon emerged soon after. I handed the reins back to Col and he brought his production finesse, we’re lucky to have that song.

A similar scenario with ‘Wild Ones’, an instrumental bed was already established to work from and I was given freedom to rearrange / change the chord structure so I could develop into the song – this dynamic has continued throughout the majority of our work together.

The success of FM-84 and the album ‘Atlas’ had led to you touring the world with them, but what inspired you to do a solo album, has that always been on the cards?

Well, it’s important to highlight that I’m very fortunate to be a part of something that enjoys even a semblance of ’success’ or should I say gives enjoyment to lots of people, particularly in what is still widely considered as a niche market. So honestly, I had no aspirations to deviate from something that I had already invested so much of myself into…

I give 110% of myself to whatever project I am involved with at the time – when ‘Atlas’ took off and the response was so overwhelming, the only desire I had was to continue to build upon the work we had accomplished, making music that we love and inspires us first and foremost.

However, I am a workaholic and I detest prolonged periods of inactivity. I’ve been both marred by bad luck and great fortune, but managed to earn my crust as a writer and performer since I was 19, therefore I am always looking for the next song. Having pitched a few ideas for the next FM-84 record, it quickly became apparent that another thread was emerging, and one that was more in line with my direct influences, I wanted to pursue a concept I had in my head for many years, that occasionally seeps through in the FM-84 world but ultimately this required its own store front.

For ‘Thanks In Advance’, you’ve been working with another Scot in Michael Oakley… a coincidence or do you feel a spiritual affinity? Is there a secret stash of RUNRIG albums in your collection? 😉

Purely owing to Michael’s wonderful nature and sharpened skill set! Well, aside from us developing a great friendship, we share a commonality in that we love melody, sincerity and well-made records. We’ve been working pretty closely for the past year and a half on one another’s records. A sort of services trade if you will… he polished my productions / mixes and I gave him lyrics and melodies where he required. I feel we’ve developed a great understanding of what the other is searching for in our respective fields. Never treading on one another, but enhancing each other’s vision. If that makes sense?

Your solo work has a more synth rock edge compared with the smooth atmospherics of FM-84, especially on songs like ‘Never Live Without You’ and ‘Driver’, please take us through how those two songs came together?

This relates to what I mentioned earlier in that this is a solo record through and through. Turning the lens towards my direct influences and the records that I fell in love with as a kid having raided and studied my Dad’s record collection – like so many others did I’m sure. It’s not a conscious decision, more a natural environment for me.

’Never Live Without You’ was the second song I wrote for the record that was a clear front runner from the outset. I worked through 4 different versions before landing on what you can now hear… I wanted to channel the sentiment of Springsteen and Jeff Lynne, this pulsing rhythm combined with soaring vocal line.

’The Driver’ was the last track I wrote for the record, which emerged from a 32 bar guitar pluck that Chris Huggett sent me in passing. So simple, yet oozing with menace, glam and swagger. I felt so inspired by the riff, I frantically mocked up a demo comprised of verse and chorus, both lyrical concepts are referring to rediscovering or maintaining sense of self / vision. I seldom write that fast, generally that’s a pretty good barometer for a great succinct song.

How involved do you get in the instrumentation process?

Perhaps a common misconception about singers in general? But I’m involved from the ground upwards, I write, produce and arrange all of the material you hear on the record, as well as a lot of instrumentation and arrangement in FM-84, the majority of this I work on in my studio at home. I’m a total perfectionist and proud to be.

‘Miracle Mile’ sounds like it might have been inspired by a moonlit convertible drive? Was it?

That sounds wonderful, but I hate to disappoint, I gave up my car when the lease was up… 😉

I actually wrote the makings of it, when I was hard up, in LA living in an Extended Stay dive, between Ventura Blvd and the 101 for 5 months as part of the accommodation plan my then-label put me in.

Despite the musty marijuana that pervaded the air, cops turning up every other night to address domestic disturbances and an air conditioning unit that hadn’t been serviced since 1997, I didn’t mind it all that much, I convinced myself that I was living ’The American Dream’ or a rendition. The song is loosely a true story about the lengths we go to, in an attempt to find what we seek.

‘I’m A Believer’ embraces the influence of Hollywood-era Giorgio Moroder, do you have any favourite films of that period? 

Thank you! It was certainly a modest attempt to evoke a sense of nightclubbing in that era. I assume you’re referring to ‘Scarface’ with the Moroder connection? I’m a sucker for a Gangster picture for sure. ‘Goodfellas’, ‘Casino’, ‘The Godfather’… however specifically the early – mid 80s? ‘Bladerunner’, ‘The Empire Strikes Back’, ‘Raging Bull’ spring to mind.

Any hopes and fears about how ‘Top Gun: Maverick’ might turn out?

I have a heck of a lot of time for Tom Cruise, simply irrepressible, I have every faith in ‘Top Gun’: Maverick’.

You do love a power ballad, as ‘The Rising Tide’, ‘Hold On’ and ‘Luna’ show but you largely manage to keep the AOR thing in check? There’s a flavour but not too much of it? Any thoughts?

I meant to take you to task on this! Haha! Do I? You can’t have light without shade in my view! I can see why to an extent, slow burners / lower tempo numbers seem to default into that category – however it is not intentionally so… I feel ‘Luna’ is the only true embodiment on the LP.

Simply as it was intended as an open letter about two lovers who meet over the internet on opposite sides of the world with contrasting lifestyles, in the face of adversity and external pressures they reconcile their feelings to try and realise a future.

As far as AOR goes… well, I don’t consciously steer towards or veer from anything stylistically. I approach each song from the stand point of, what is the message? Does it make me feel anything? Is it truthful? If those ingredients aren’t present then I think labels are irrelevant, the song will invariably not make the grade!

Which have been your own personal favourites from the album and why?

That’s like trying to select your favourite child? Perhaps it’s unspoken? 😉

Well, ‘The Driver’, ‘Miracle Mile’ are stand outs for me, but ’The Rising Tide’ is much more of a luscious contrast for me, untethering myself, a ROXY MUSIC homage come blue eyed gospel moment in the spirit of Peter Gabriel.

Without dissecting the message here, all I will say is lyrically the pen is turned directly on myself, an acknowledgement of the pitfalls and facing them with a grin come what may – vocally I went to town, it’s definitely not a “sit back and relax” moment, I’m giving everything I’ve got in the tank which is both liberating and a real challenge I put to myself, I’m really pleased with the result.

‘Thanks In Advance’ is almost made to be performed live, was that something that had been a consideration during its production?

That’s an excellent observation. Honestly it’s never a conscious decision until after the fact… Songwriting and the studio is the factory, the stage is the test track and I adore that environment, it’s a fight or walking a tight rope I feel to an extent. It’s a privilege to be able to do and have the responsibility to ensure you have it nailed. Although, initially at least, I seldom consider the challenges of delivering half of my songs live! They’re certainly a work out, but I do a huge amount of prep and rehearsal.

So how will your solo show in London this November differ from when people saw you fronting FM-84?

Well, it’s imperative to highlight that I am always myself… authentic and sincere, what you see is what you get up there – it is my job to entertain you for an hour and a half for the price of admission. Aside from the glossy veneer, I’m looking forward to showing more of my chops as far as playing live goes.

I teased this on the recent FM tour we just wrapped with rolling out the Keytar during our cover of TEARS FOR FEARS, this will be an extension – yes you’ll get the synths but it will be a live show, with real musicianship from real musicians, something that I am a huge advocate of and feel is lacking in the scene at least.

Synthwave, synthpop, popwave… do these terms and classifications matter, surely it’s all pop music? 😉

I am by no means an arbiter of other people’s tastes / views etc. I’m well aware, labels go with the territory, whilst I don’t shirk away from them and I’m grateful to be even considered a member of any ‘movement’ – it is my personal view that rather than rush to create so many different sub genres and factions – why don’t folks simply concentrate on the meat and potatoes here… creating the best possible music they can muster in the first place?

What’s next for you musically, either solo or with FM-84 or anything else?

It’s still early days for my debut LP, having only been released last week, the reaction has been overwhelmingly positive, exceeding my expectations… far more receptive than I expected truth be told. It’s a pretty daunting prospect stepping out of the spotlight of an entity that so many people love and may associate you with – so first things first, I am likely going to be performing a few select shows starting in the UK and US subject to the album’s trajectory of course! I already have tracks lined up for a possible second record… where they eventually land, we shall see.

FM-84 has been the main focus since I became a part, however it requires a huge team effort to see the second record across the line, so when the time is right and Col is ready, I will be there to play my part – if I’m still needed! In other news, I’m due to begin work with Michael Oakley on his follow up to ‘Introspect’ shortly, as well as working with a few of peers within the scene with a possibility of the long awaited duet on the cards! 😉

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Ollie Wride

Special thanks to Stuart McLaren at Outland

‘Thanks In Advance’ is released by New Retro Wave, available in vinyl LP, cassette and digital formats direct from https://olliewride.bandcamp.com/album/thanks-in-advance-2

OLLIE WRIDE plays London Camden Assembly on Saturday 16th November 2019 and Glasgow Classic Grand on Friday 10th April 2020

https://olliewride.com/

https://www.facebook.com/olliewrideofficial/

https://twitter.com/OllieWride

https://www.instagram.com/olliewride/

http://www.nrwrecords.com

https://open.spotify.com/artist/1anhHn744LbctzF9EHpvea

Text and Interview by Chi Ming Lai
Portrait Photos by Randy Jacob
Live Photo by Electric Brixton
31st July 2019, updated 26th October 2019

OLLIE WRIDE Thanks In Advance

22 July 2019 /

The stylish figure of Ollie Wride could become popwave’s own Bryan Ferry.

Just as Ferry had a parallel solo career alongside ROXY MUSIC, the suave lead vocalist for FM-84 on songs like ‘Wild Ones’ has been partying like it’s 1985 on his enjoyable debut long player ‘Thanks In Advance’. Co-produced by the Toronto based Scot Michael Oakley with guitars by Chris Huggett, Los Angeles based Englishman Wride uses the opportunity to channel his inner Lindsey Buckingham.

There are certainly flashes of FLEETWOOD MAC’s synth assisted ‘Tango In The Night’ album within opening song ‘Never Live Without You’, a number fashioned with a fine balance of synths, guitars and MTV friendly vocals that is better than anything which THE KILLERS have fashioned in the last ten years.

Rhythmically swung, ‘Overcome’ is rocky but avoids the dreaded AOR indulgences often found within synthwave circles. Meanwhile the muted funk guitar and sparking synthlines of ‘Back To Life’ offer sunny soulful pop, with Wride’s voice superbly anthemic and likely to induce swooning. Plus there’s even an unexpected key change and sax thrown in!

With gently percussive World Music overtones, ‘The Rising Tide’ offers a colourful ballad in the vein of Tom Lord-Alge’s work with Steve Winwood but with the threat of MR MISTER looming, this won’t necessarily be for everyone.

Offering some big love, it all gets back on track with ‘Miracle Mile’, the pulsing triplet providing the backbone to a wonderful open top driving number. The imagery conjured may be a cliché but the fact that the song produces pictures for the listener at all is a fine achievement for any artist.

Coming over like Richard Marx, Wride dons his balladeer hat again on the appropriately moonlit ‘Luna’, before the sun rises for the filmic bass synth laden cascade of ‘I’m A Believer’, which embraces the hypnotic Hollywood influence of Giorgio Moroder as well as utilising some rousing layers of vocals.

‘Hold On’ reimagines what a slowie for the soundtrack of ‘About Last Night’ would be like in the 21st Century, but ending ‘Thanks In Advance’ is ‘The Driver’.

Putting into dynamic realisation as to what SIMPLE MINDS might have sounded like had Moroder-graduate Keith Forsey produced the 1985 ‘Once Upon A Time’ album instead of Jimmy Iovine and Bob Clearmountain, the superb grouchy FM synth rock of ‘The Driver’ see Wride successfully cross Jim Kerr with Billy Idol!

So is this a synthwave album? Well no! Is it good accessible pop record with a melodic synth aesthetic that invokes memories of Brat Pack movies, aviator sunglasses and designer stubble? YES!

Ollie Wride has proved with ‘Thanks In Advance’ that he can cut it on his own outside of the FM-84 nest. While there might be too many power ballads for some listeners, this is an impressive debut long player that will be likely to gain further momentum once it is carried into the live arena by Wride’s charismatic stage presence.

‘Thanks In Advance’ is released by New Retro Wave, available in vinyl LP, cassette and digital formats direct from https://olliewride.bandcamp.com/album/thanks-in-advance-2

https://olliewride.com/

https://www.facebook.com/olliewrideofficial/

https://twitter.com/OllieWride

https://www.instagram.com/olliewride/

http://www.nrwrecords.com

Text by Chi Ming Lai
Portrait Photos by Randy Jacob
22nd July 2019

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