Tag: OMD (Page 18 of 23)

Missing In Action: FATAL CHARM

30 January 2014 /


Nottinghamshire’s FATAL CHARM were, like several bands during the post-punk era, on the cusp of the big time on several occasions during their career but never quite broke through despite opening for ULTRAVOX and OMD.

Despite the nucleus of Sarah Simmonds and Paul Arnall having recorded a number of outstanding singles, they never got the recognition they deserved.

First making waves on their local scene in 1979 as an all male new wave band, they made contributions to a Dead Good Records LP sampler ‘East’ which also included those great white synth hopes B-MOVIE who later featured on the legendary ‘Some Bizzare Album’. However, it was only when Arnall recruited Simmonds as lead vocalist that FATAL CHARM began to make real progress.

The fresh female fronted outlook impressed and eventually led to tours supporting ULTRAVOX and OMD in 1980. The excellent first single with the new line-up ‘Paris’ was issued on Double D Records in 1981 and produced by Midge Ure. Indicative of their potential, ‘Paris’ had been given a low key independent release in 1979 voiced by the band’s main songwriter Arnall. But with the lyrics unchanged and now embroiled in Simmonds’ feisty passion, it gave a freshly charged sexual ambiguity to the long distance love story written in the days before the Channel Tunnel.

This new version reflected the synth flavoured sound of the period and obliquely connected FATAL CHARM with the New Romantic movement. Meanwhile, its more guitar driven flip ‘Christine’ showcased the band’s punkier roots that had more of an affinity with BLONDIE and X-RAY SPEX.

However, line-up changes and label issues stalled any momentum gained on the ULTRAVOX and OMD tours via flexi-disc giveaway ‘Western Laughter’ / ‘Dark Eyes’.

It wasn’t until 1984 when FATAL CHARM released probably their best known song ‘Summer Spies’ that things started moving again. Issued on the Carrere label, the single was championed on BBC Radio 1 by Janice Long and even edited into a jingle for Long’s show. Crossing the sweeps of OMD with the classical resonance of ULTRAVOX, ‘Summer Spies’ featured Simmonds’ dramatically melancholic voice alongside her own serene whispers. The single’s popularity subsequently led to an appearance on Channel 4’s prestigious music show ‘The Tube’ but unfortunately, a hit was not forthcoming.

The follow-up single ‘King Of Comedy’ kept up the standard while its amusing B-side ‘We’ll Just Wait For Your First Hit’ reflected on the frustrations of trying to secure a record deal.

Indeed, record label politics were to be FATAL CHARM’s Achilles Heel. And with Carrere Records distracted by their surprise No1 ‘Move Closer’ by Phyllis Nelson in Summer of 1985, the debut album ‘Endangered Species’ slipped out largely unnoticed.

But 1986 saw the band sign to Native Records and the release of another excellent single ‘Images Of Fire’ saw them secure airplay during the crucial daytime slot on Radio1 from early afternoon DJ “woo” Gary Davies.

It made the UK Independent Charts and FATAL CHARM appeared to be on the ascent again. However, the next single ‘Lucille’ was not afforded such treatment and repeating history, the parent album ‘This Strange Attraction’ did not emerge until 1989 due to record label issues. Released on their own Really Great Records, Simmonds and Arnall were tiring of the label upheavals that were stalling FATAL CHARM’s progress.

So coinciding with the post-Second Summer Of Love environment in the wake of Acid House, the duo changed their name to STATE OF GRACE and signed to 3rd Stone while FATAL CHARM was placed in hiatus. They released ‘Pacific Motion’ in 1994 which led to a deal with RCA in the US for their 1996 album ‘Jamboree’. STATE OF GRACE continued until 1998 while Arnall also ran a parallel solo project UNDERGROUND HOUSE ORCHESTRA.

In 2005, FATAL CHARM relaunched and issued the self-released ‘Pop’ via their website. More rock orientated than their previous work and featuring new versions of material such as ‘Paris’ and ‘Western laughter’ alongside new compositions, for the first time FATAL CHARM appeared to be in step with the contemporary music scene, thanks to the success of acts such as CURVE and GARBAGE. ‘Pop’ reinvigorated interest in FATAL CHARM, leading to the self-released compilation CD ‘Plastic’ featuring all their singles and B-sides from back in the day including the free flexi-disc from the ULTRAVOX and OMD tours.

Today, FATAL CHARM continue to play live in their home city of Nottingham and occasionally record. Paul Arnall and Sarah Simmonds kindly took time out to chat to look back at their career…


How did the FATAL CHARM sound come into being and who were your influences?

Paul: In the mid ’70s, I worked at a record shop called Select-A-Disc in Nottingham. As the concept of dividing artists by genre didn’t exist in those days, it was constantly a voyage of discovery; CAN sat next to CHIC, FUNKADELIC next to FREE etc… so my influences were many.

At the time of forming FATAL CHARM, I was probably listening to a lot of new wave stuff – WIRE, TELEVISION and TALKING HEADS along with CHIC and CAN.

When did you become interested in using synthesizers and what was your first synth?

Paul: In the early ’70s I played in a band with a very talented keyboard player, Paul Simons, he’s a bit of a boffin. Around ’73 he made his first synth, a couple of years later he reproduced his first Minimoog copy; you’d really have to look at it very closely to realise it wasn’t the real thing. It sounded amazing and even had the same tuning problems when it got hot. It was used on the first FATAL CHARM demos along with a Solina string machine, and the first keyboard I owned, a Hohner clavinet. Paul still dabbles making synths; the last time I saw him he was working on a Moog Modular 55 and still had some spare Minimoogs for sale, he can be contacted at svitch@ntlworld.com

How did Midge Ure become interested in producing you?

Paul: I’ve no idea; it was all handled by our then label Double D…

Sarah: Of course, we went on tour with ULTRAVOX before we recorded with him, but I think it was a package deal!

‘Paris’ in particular does have his stamp on it. What do you remember about recording it and how do you think it stands up now?

Paul: The version of ‘Paris’ produced by Midge is really no different an arrangement to the original, the major difference was we were able to use Midge’s Yamaha synth which gave it his sound. ‘Paris’ is a song of its time and not one of my favourites.

Sarah: Ha ha! Yes, it goes too fast for Paul these days! We have played it a couple of times in the last couple of years but Paul grumbles too much so we have to leave it out!

You toured with ULTRAVOX and OMD in 1980, how do you think FATAL CHARM went down with those audiences and what are your own favourite memories?

Paul: The response was fantastic, sadly we had no single to promote… not great planning from our record label. But very fond memories as it was the first time we’d played venues of that stature.

Sarah: I have a memory of wearing a leotard with a pale green and pink jacket over the top! Not one of my better fashion choices… I also remember playing at the Hammersmith Odeon in London and having to go onstage without a soundcheck. The audience were already coming in and we were frantically setting up, while roadies checked that everything worked. Seat of the pants stuff – character building!

‘Summer Spies’ is the song you are best remembered for. Can you remember its genesis and how the song’s expansive atmosphere developed in the studio?

Paul: Hmm, it was 30 years ago!!!! It was influenced bizarrely by HOT CHOCOLATE… I was having a post-gig pint and a HOT CHOCOLATE song was playing on the juke box. I noticed it had no fills in the drum track. It was something I’d always wanted to try so that was my starting point as I really liked the idea of a constant rhythm. I’d come up with this nice rhythm pattern and basically jammed around it with a Roland Jupiter 4.

Originally it was all Jupiter 4 and 606 drum box recorded at home on my old Akai 4000DS. We were able to get some studio time in Chappell Music 8 track studio, we replaced the 606 with the Linn Drum and added grand piano. My original intention was for it to have no guitar on it, but when I went down to do the 12″ version we needed to expand it. Our engineer suggested a guitar solo but I had no guitar with me. Eventually they searched around and found an old Yamaha guitar with no top E or B strings so the guitar solo was played just on the G string.


‘Summer Spies’ got a lot of radio play with Janice Long being a particular champion while you also appeared on the TV show ‘The Tube’. Do you have any thoughts in hindsight why it didn’t become a hit?

Paul: Our record label Carrere were a small label and to be honest, really didn’t understand us. I think ‘Summer Spies’ was released at the end of July, it picked up some nice airplay but had no tour to promote it. And in fact, it was Sarah that got us ‘The Tube’ appearance… by that time it was November. Even so, our chart position the next day after ‘The Tube’ was 97, I think it had dropped to around 130 by the time the chart was released as the shops had sold out.

Sadly there were no copies left in the warehouse to ship out to the shops. As it was coming up to Christmas, all the pressing plants were busy doing the Christmas runs. By the time they’d pressed more, it was mid-December and too late, c’est la vie…

Sarah: Carrere’s boss admitted later that the song should have been a hit, and apologised.

Your debut album ‘Endangered Species’ finally appeared in 1985. Why did it take so long for it to be completed and how did it affect the band’s momentum?

Paul: This was a quick release if you compare it to RCA who took over 2 years to release the STATE OF GRACE album. The album was recorded over 2 weeks, early ’85 I think. It took so long because as mentioned, Carrere didn’t understand us… on one occasion when listening to a batch of demos, the
A&R guy stopped the tape and asked us why the song was so slow! I looked at Sarah, she looked at me and we both knew we were doomed… ‘Hold On’ was later released on ‘This Strange Attraction’.

1986’s ‘Images of Fire’ was another great single of yours which appeared to cross Kate Bush with ULTRAVOX?

Paul: I loved Kate Bush and loved the first 3 ULTRAVOX albums; I can’t say either of them influenced ‘Images of Fire’.

Why did the parallel STATE OF GRACE and UNDERGROUND HOUSE ORCHESTRA projects emerge alongside FATAL CHARM?

Paul: STATE OF GRACE was a forced name change; our label 3rd Stone believed, and rightly so, that the FATAL CHARM name had been around for too long to be able to get interest from major record labels. They were proved right as we were signed to RCA New York in ’93.

UNDERGROUND HOUSE ORCHESTRA is just a platform for me to release my own recordings. I originally planned to do one off albums under different guises across different genres of music. My first recording was as Space Harriers in Transit (trash pop), followed by Projectile (trance) released on Native Records, Fantastic The Feedback (pop) and Bombshell (homage to CAN)… but even I got confused so I decided to cover the lot under tUHO.

FATAL CHARM returned in 2005 with the album ‘Pop’ and you seemed to be in synch with the scene at the time with acts like GARBAGE and CURVE?

Paul: As my main instrument is guitar, I just fancied re-recording some of the old songs with just guitars and minimal keyboards, as I can never leave anything alone. Some more keyboards were added when I remastered the CDs in 2010.

Despite all the upheavals, the core of FATAL CHARM remains Paul Arnall and Sarah Simmonds. What has enabled you both to still be able record and perform together after all these years?

Paul: Ever since 1981 when the original line-up split, it’s just been the two of us, whether as FATAL CHARM or STATE OF GRACE, what can be better than recording and performing with your best friend.

Sarah: Ah, thanks Arnie! And we always have a lovely cream cake or other tasty snack when we meet J.

FATAL CHARM still play live occasionally in the Nottinghamshire locality. Are there any future plans?

Paul: This spring or early summer we’ll be playing again as STATE OF GRACE (we fancied a change)… we’ll be playing songs from all decades.

Is there anything you would have liked to have done differently back in the day?

Paul: Get a decent manager!!!!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to FATAL CHARM

Their singles including ‘Paris’, ‘Summer Spies’ and ‘Images Of Fire’ are all collected on a CD entitled ‘Plastic’ which is available from their website along with their debut album ‘Endangered Species’, 2005’s comeback ‘Pop’ and all the STATE OF GRACE material.

A selection of FATAL CHARM’s music is available via Amazon and iTunes including their most recent collection ‘April 13’ and a reworked 2010 version of ‘Summer Spies’

http://www.fatalcharm.co.uk/

https://www.facebook.com/pages/Fatal-Charm/248572655153406

Text by Chi Ming Lai
30th January 2014

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2013

16 December 2013 /

In one of the most productive years ever for electronic pop music, it has been extremely difficult to whittle down the list to 30 songs.

The standard has been extremely high and songs which would have made the listing in previous years have been left off. This has meant the controversial omission of DEPECHE MODE. Despite being as popular as ever, grossing over $99 million during the ‘Delta Machine’ tour, once a shortlist for 2013 was drawn, the competition was so stiff that nothing from the album even scraped in!

Yes, 2013 has been that good and wonderful songs by the likes of ELEVEN:ELEVEN, GAZELLE TWIN, IAMX, KOVAK, MOBY, NIGHT ENGINE, NINE INCH NAILS, SAY LOU LOU and SOFT METALS have just missed inclusion too!

So the songs on this alphabetical list have been released in physical formats, or digitally as purchasable or free downloads during the calendar year with a limit of one song per artist moniker.

ADULT. Idle (Second Thoughts)

The new ADULT. album ‘The Way Things Fall’ was fittingly described by one observer as “a snuff film version of Speak & Spell”. The fears of relationships and the outside world have very much fuelled the dystopian demeanour of ADULT. While still retaining their distinctive edge, their mutant love songs have a magnetic charm. This was particularly evident on the fabulous single ‘Idle (Second Thoughts)’, a vibrant electro hybrid of GINA X PERFORMANCE and SIOUXSIE & THE BANSHEES which showcased a strange blend of menace and melody.

Available on the album ‘The Way Things Fall’ via Ghostly International

http://adultperiod.com/

ANALOG ANGEL We Won’t Walk Away

Moving away from the industrial battleground in which they made their name, ANALOG ANGEL began the year with the enjoyably immediate ‘We Won’t Walk Away’, a laudable tribute to OMD’s classic ‘Organisation’ era. Complete with primary chord structures, one-fingered melodies and motorik rhythm programming, there was even a hint of the dulcet tones of Andy McCluskey in John Brown’s vocal. But just one thing though… Paul Humphreys wants his Prophet 5 back 😉

Available on the download EP ‘Pride’ via Carbon 12 Records

http://www.analog-angel.com/

KARL BARTOS Without A Trace Of Emotion

‘Without A Trace Of Emotion’ saw Karl Bartos conversing with his showroom dummy Herr Karl and confronting his demons as an ex-member of the world’s most iconic electronic group. The most straightforward pop song on the ‘Off The Record’ album, its autobiographical resignation was not unlike ‘Life’ from ‘Communication’. But whereas his former colleague Wolfgang Flür vented his spleen in book form with ‘I Was A Robot’, Bartos took a more ironic musical approach with the line “I wish I could remix my life to another beat”, a wry reference to ‘The Mix’ project which drove him to madness and out of Kling Klang!

Available on the album ‘Off The Record’ via Bureau B

http://www.karlbartos.com/

BEF feat DAVID J ROCH Same Love

The concept of BEF’s ‘Music Of Quality & Distinction Vol3 – Dark’ is dark interpretations of perceivably upbeat songs using a variety of guest vocalists. One of the beauties of this type of project is how seemingly incongruous elements are fused together for a blissful whole. Here, melodramatic Sheffield singer/songwriter David J Roch tackles Bill Withers’ ‘Same Love’ via Martyn Ware’s wonderful arrangement blending a neo-acapella intro into a meaty electro-disco tune with spacey whistles and haunting invader games like Giorgio Moroder producing SPACE’s ‘Magic Fly’.

Available on the album ‘Music of Quality & Distinction Vol3 – Dark’ via Wall Of Sound

http://www.britishelectricfoundation.com

MARGARET BERGER I Feed You My Love

Co-written by Swedish electro songstress Karin Park, Norway’s Eurovision Song Contest 2013 entry came fourth. ‘I Feed You My Love’ was like Robyn and Kelly Clarkson fronting ‘Songs Of Faith & Devotion’ era DEPECHE MODE. In fact, its performer Margaret Berger came second in the 2004 series of Norwegian Idol so the description was quite apt. The on-paper incongruous outcome was leftfield by Eurovision standards but perhaps not entirely shockingly, it got nul points from the United Kingdom; it summed up mainstream tastes in the UK and the country’s general Euro scepticism if nothing else!

Available as a download single via Macho Records

http://www.facebook.com/pages/Margaret-Berger/101820056564427

CHVRCHES The Mother We Share

The saviours of synthpop had an amazing year with sold out club shows and five dates supporting DEPECHE MODE in Europe. CHVRCHES‘ most accessible track ‘The Mother We Share’ was synthpop perfection with the concept of Taylor Swift gone electro having uprooted to Berlin. It deservedly scooped Popjustice’s Twenty Quid Music Prize for best UK single. Despite its wonderfully catchy chorus, it was not wholly bubblegum with its plethora of futuristic sounds and strange noises! Lauren Mayberry, Iain Cook and Martin Doherty delivered on their promise with an impressive debut album ‘The Bones Of What You Believe’, save the two incongruous indie synth numbers sung by Doherty!

Available on the album ‘The Bones Of What You Believe’ via Virgin Records

http://www.chvrch.es/

ELECTRONIC CIRCUS Roundabout

ELECTRONIC CIRCUS are led by Chris Payne, the keyboard and viola virtuoso who was a member of Gary Numan’s band between 1979 to 89 and featured prominently on the Top10 single ‘Complex’. He notably co-wrote ‘Fade To Grey’ which became a huge international hit for VISAGE. With his adopted home surroundings very much the backbone of ‘Roundabout’, the track itself possessed a sexy and authentic Gallic charm, courtesy of Chris’ wife Dominique. The exquisite, almost naïve vocals over the most incessant synth riff either had listeners dancing with delight or irritated to the point of submission… the seemingly banal words were actually a very clever metaphor for midlife!

Available as a download single via Coverdrive Records

http://www.electronic-circus.com

FEATHERS Land Of The Innocent

It had to happen and the world found its female DEPECHE MODE! Led by vocalist / songwriter / programmer Anastasia Dimou, the sound was probably more like post-apocalyptic BANGLES or Belinda Carlisle with gothic overtones in hindsight. The first single ‘Land Of The Innocent’ was a wondrous epic based around the arpeggio of ‘Ice Machine’ and driven by a hard incessant beat. Possessing an industrial gloom with an enlightening pop sensibility, it was what LADYTRON would have sounded like if they had formed in a Texan desert rather than spectre of Merseyside!!

Available on the album ‘If All Now Here’ via http://feathers.bandcamp.com/

http://www.feathers.fm/

FOTONOVELA feat MIRRORS Our Sorrow

Not content with producing MARSHEAUX and collaborating with OMD on ‘Helen Of Troy’, Greek production duo FOTONOVELA unveiled a new sophomore opus which was more song based using a number of prominent international vocalists. One of the numbers ‘Our Sorrow’ featured the majestic voice of James New from the missing-in-action MIRRORS. The string synth laden ditty was in the vein of classic OMD and with the South Coast combo calling it a day in 2013, this was a fitting way to depart The Hall Of Mirrors.

Available on the album ‘A Ton Of Love’ via Undo Records

http://www.facebook.com/undofotonovela

http://www.facebook.com/theworldofmirrors

JOHN FOXX & JORI HULKKONEN Evangeline

John Foxx and Jori Hulkkonen had worked together previously but never before on a body of work with a conceptual theme. Their latest collaboration took on a grainier downtempo template and the lead track ‘Evangeline’was all the more beautiful for it. Full of depth, coupled with an anthemic chorus and vibrant exchange of character throughout, this rousing yet soothingly futuristic number was quite otherworldly. The title of the parent EP said it all…

Available on the EP ‘European Splendour’ via Sugarcane Records

http://www.metamatic.com/

http://www.jorihulkkonen.com

GIRL ONE & THE GREASE GUNS Jessica 6

Nobody really knows for sure who are GIRL ONE & THE GREASE GUNS but names like Sissy Space Echo, Warren Betamax, Charles Bronson Burner and Bruce LeeFax are commensurate with their manifesto “to thrive on causing confusion with a mixture of pure synth pop and more experimental electronic sounds”. ‘Jessica 6’ is a tribute to the cult Sci-Fi favourite ‘Logan’s Run’. The eerie post-punk cacophony laced with icy Yamaha string machine makes it the perfect belated choice for the soundtrack. Add in a frantic reverbed backbeat and it all comes over like THE PIPETTES fronting collaboration between JOY DIVISION and OMD.

Available as a download single via Squirrel Records

http://www.squirrelrecords.co.uk/girl-one-and-the-grease-guns/

GOLDFRAPP Thea

From a long player with distinctly orchestrated and acoustic overtones, ‘Thea’ was the most overtly electronic song on ‘Tales Of Us’. Alison Goldfrapp’s vocal soared angelically, surrounded by very subtle synthetic dance textures and layers of percussive craft. While the beat was mechanical, it didn’t sound out of place on the very organic parent album.

Available on the album ‘Tales Of Us’ via Mute Records

https://www.goldfrapp.com

KID MOXIE The Bailor

KID MOXIE is the musical vehicle of Los Angeles based Elena Charbila. Her first full length album ‘Selector’ was bolstered by a MARSHEAUX remix of its best song ‘Medium Pleasure’. Always sounding her best when adopting a breathy continental vocal style, Elena Charbila recorded possibly her best song yet as KID MOXIE with ‘The Bailor’, a dreamy and sexy tunes that glistened in the Aegean Sea. The Wayfarer remix of the song was also issued later in the year in aid of The David Lynch Foundation .

Available as a download single via Kid Moxie

http://www.facebook.com/kidmoxie

MARNIE The Hunter

LADYTRON’s Helen Marnie released her long awaited debut solo album ‘Crystal World’ in the summer. Recorded in Iceland, it suitably captured the island’s beautifully relaxed but volatile atmosphere. Its opening track ‘The Hunter’ was a tremendous calling card and the vibrant electropop single that LADYTRON never quite got round to releasing. Very pretty and delectably glacial, the tune was vocally and musically expansive like an Arctic escapist fantasy, melancholic but free of doom.

Available on the album ‘Crystal World’ via Les Disques Du Crespuscle

http://www.facebook.com/helen.marnie.official

MARSHEAUX August Day

MARSHEAUX’s fourth album ‘Inhale’ had been a long time coming. And it appeared as though the Greek financial crisis had loomed heavy over its making, resulting in moodier, midtempo numbers taking centre stage. ‘August Day’ though was a grower, developing on the maturer outlook apparent on the album’s concept, with a hint of CHVRCHES’ steadier paced output. Less immediate but overwhelmingly dreamy, it captured the senses after multiple listens.

Available on the album ‘Inhale’ via Undo Records

http://www.marsheaux.com

MESH The Way I Feel

MESH’s founders Mark Hockings and Richard Silverthorn know their audience so the lattice of danceable electro-rock continued on their best album yet ‘Automation Baby’. But the beautiful ‘The Way I Feel’ showed a more sensitive side with hints of Ennio Morricone. Shaped by acoustic guitar and string machine washes, the atmospheric maturity that MESH were now showcasing was a welcome surprise.

Available on the album ‘Automation Baby’ via Dependent

http://www.mesh.co.uk/

MONARCHY feat DITA VON TEESE Disintegration

MONARCHY’s ‘Disintegration’ featured the sexy burlesque queen Dita Von Teese on vocals. With its vampish disco crashing into elements of Giorgio Moroder, it sounded like the SCISSOR SISTERS gone right and even threw in a few VISAGE frequency warbles! ‘Disintegration’ was a rather excellent, stomping floor filler of the first degree with some hook laden energy and cooing feline appeal.

Available as a download single via Hacan Sound

http://www.monarchysound.com/

http://www.dita.net/

GIORGIO MORODER Racer

Giorgio Moroder is now 73 years old but is as vital as ever having produced the dance track of the year! Commissioned by Google Chrome for their online game ‘Racer’, the piano line was like ULTRAVOX reworked for Studio 54 while the whirring synths and trancey elements made it come over like history of modern electronic dance music squashed into 4 minutes. But as these ideas were mostly borrowed from Da Maestro himself, it was now his time to grab it all back. Moroder easily rivalled any young hopeful with a set of double decks and a laptop.

Available as a free download single via Google Play

http://www.moroder.net/

ALISON MOYET Changeling

Alison Moyet made a return to the electronic experimentation that made her famous as one half of YAZOO on her new album ‘the minutes’. With contemporary synthesized backing over a powerful rhythm construction and stuttering guitar textures courtesy of new collaborator Guy Sigsworth, Moyet’s deep emotional vocal resonated on ‘Changeling’ with a confidence and energy that dispelled the public’s perception of her as just a jazz singer!

Available on the album ‘the minutes’ via Cooking Vinyl.

http://www.alisonmoyet.com

NIGHT CLUB Poisonous

NIGHT CLUB Love CaSUALTYPositively feline but dysfunctionally dark like Britney gone emo, NIGHT CLUB‘s cutely subversive ‘Poisonous’ based itself, like STEFY’s lost 2007 single ‘Chelsea’, around the riff of ‘Sweet Dreams (Are Made of This)’. This superb slice of catchy electronic pop from the LA combo of Emily Kavanaugh and Mark Brooks roused with a huge crossover potential while possessing a sinister edge.

Available on the download EP ‘Love Casualty’ via Gato Blanco

http://nightclubband.com

NOBLESSE OBLIGE Hotel California

NOBLESSE OBLIGE are French theatrical performer Valerie Renay and German producer Sebastian Lee Philipp who specialise in a brand of abstract Weimer cabaret tinged with a dose of electro Chanson. NOBLESSE OBLIGE’s lengthy funereal deadpan cover of THE EAGLES’ ‘Hotel California’ highlights the chilling subtext of the lyrics to its macabre conclusion! The synthesizer interpretation of the original song’s iconic twin guitar solo will either be seen as total genius or sacrilege!

Available on the album ‘Affair Of The Heart’ via Repo Records

http://www.noblesseoblige.co.uk/

GARY NUMAN Who Are You?

‘Who Are You?’ is one of those great uptempo anthemic songs in the vein of ‘Listen To My Voice’ from 2000’s ‘Pure’ that confirms when Gary Numan hits the target, he hits bulls-eye! Written for a film about a musician with schizophrenic personality, it fitted well with the parent album ‘Splinter’ and its ‘Songs From A Broken Mind’. The album wasn’t just one-dimensional riff monsters and the varied material was some of Numan’s best work for years.

Available on the album ‘Splinter (Songs From A Broken Mind)’ via Mortal Records / Cooking Vinyl

http://www.numan.co.uk

OMD Stay With Me

The standard of ‘English Electric’ was so high that any one of its song based tracks could have made the list. But ‘Stay With Me’ is the album’s hidden gem. The first Paul Humphreys lead vocal for OMD since 1986’s ‘Forever Live & Die’, the song was originally demoed as ‘Idea 3’ and voiced by Andy McCluskey. Ever the master of melody and inspired by events around him, Humphreys reworked it into a more straightforward love song but added a beautiful cinematic resonance. It came over like ‘Love Theme From St Elmo’s Fire’ meets ‘Souvenir’ with subtle lashings of white noise!

Available on the album ‘English Electric’ via BMG

https://www.omd.uk.com/

PET SHOP BOYS Fluorescent

“Incandescent…”; yes the hypnotic ‘Fluorescent’ was basically a buzzy dancefloor makeover of ‘Fade To Grey’ with the chilling Polymoog string preset from VISAGE’s original remaining in the mix while waves of synth sirens attacked it like a Martian invasion. The parent album was ‘Electric’ by name and electric by nature, and easily the PET SHOP BOYS‘ best body of work since ‘Very’. It more than made up for 2012’s lame duck ‘Elysium’…

Available on the album ‘Electric’ via X2 / Kobalt Records

http://www.petshopboys.co.uk

QUEEN OF HEARTS United

A stomping electro disco number produced by Mark Reeder who previously has remixed John Foxx, DEPECHE MODE and PET SHOP BOYS, QUEEN OF HEARTS‘ cooing Bush-like howls and breathy euphoria are a total delight to the ears while the mighty cavernous sound provides the heat! Yet ‘United’ has ended up as the B-side of the less satisfactory ‘Secret’. However, if songs like this are being seen as outtakes, this is all a good sign for her debut album in 2014 which is eagerly awaited…

Available on the download EP ‘Secret’ via Night Moves

http://iamqueenofhearts.com/

REPUBLICA Christiana Obey (TENEK remix)

Originally, written by Saffron with noted producer Andy Gray, ‘Christiana Obey’ had been doing the airplay rounds in 2012 but finally secured a formal release to coincide with REPUBLICA’s touring comeback this year. With its suitably big chorus, Saffron was on good anthemic form while a meaty remix from TENEK enhanced the song even further and made it ready to go!

Available on the EP ‘Christiana Obey’ via Republica Music

http://www.republicamusic.co.uk/

POLLY SCATTERGOOD Wanderlust

Polly Scattergood made her debut in 2009 with a self-titled album released on the iconic Mute Records. With key influences such as Bjork and Kate Bush, it combined jubilant experimental pop with her innocent, affected vocals. From her second album ‘Arrows’, ‘Wanderlust’ realised her potential with a slice of deliciously wired avant pop in the GOLDFRAPP vein, although closer scrutiny revealed it to be more like electronic COCTEAU TWINS with that rousing air of fragility.

Available on the album ‘Arrows’ via Mute Artists

http://www.pollyscattergood.com/

SIN COS TAN Moonstruck

The Finnish duo of Juho Paalosmaa and Jori Hulkkonen swiftly followed up their acclaimed eponymous debut of 2012 with ‘Afterlife’. Hulkkonen said back in 2011 that it was being a fan of PET SHOP BOYS that inspired him to make music. ‘Moonstruck’ is a fine melancholic beat ballad in the Tennant/Lowe tradition where Paalosmaa’s emotive lost boy demeanour blends wonderfully with the sweeping drifts and building swathes of synth strings. It is also possibly the best song of its type that Neil and Chris never recorded.

Available on the album ‘Afterlife’ via Solina Records

http://sincostan.net/

VILE ELECTRODES Damaged Software

Like ‘Twin Peaks’ meets ORBITAL, ‘Damaged Software’ was an enticing piece of electro from Anais Neon and Martin Swan which affirmed their status as Britain’s premiere independent synth duo. With a tour supporting OMD in Germany where they encountered the likes of Karl Bartos and Wolfgang Flür backstage, their vile adventure of meeting former KRAFTWERK members continued when they shared the bill with Michael Rother at Elektrofest. Three years in the making, the parent album ‘The future through a lens’ was well worth the wait.

Available on the album ‘The future through a lens’ via https://vileelectrodes.bandcamp.com/album/the-future-through-a-lens

http://www.vileelectrodes.co.uk

WESTBAM feat RICHARD BUTLER You Need The Drugs

Techno DJ WESTBAM celebrated 30 years in the music business with an intriguing mature collection of songs under the title of ‘Götterstrasse’. While the theme of the album centred on the joy and euphoria of underground nightlife, the album’s magnificent launch single ‘You Need The Drugs’ was not actually a celebration of illicit substance use. Voiced brilliantly by THE PSYCHEDLIC FURS’ Richard Butler, WESTBAM himself said it was “the first explicit electronic appeal AGAINST the use of drugs with a clear message: drugs are a bore!”. From a brilliant album that also featured vocalists as diverse as Iggy Pop, Bernard Sumner, Brian Molko, Lil’ Wayne and Kanye West, ‘Götterstrasse’ was the surprise electronic release of the year.

Available on the album ‘Götterstrasse’ via Warner Music Germany

http://www.westbam.de/dt/en/

Text by Chi Ming Lai
16th December 2013

2013 END OF YEAR REVIEW

12 December 2013 /

The Correct Use Of VCOs

The year started appropriately enough with an electronic number ‘2013’ by Belgian duo METROLAND.

For the first six or seven months of 2013, it proved to be one of the most productive periods in electronic pop music. Not since the Autumn of 1981 when had so many significant releases coincided. It was strangely quality and quantity, a rare occurance in modern times for music, especially of the synth propelled variety.

That time saw THE HUMAN LEAGUE ‘Dare’, GARY NUMAN ‘Dance’, ULTRAVOX ‘Rage In Eden’, DEPECHE MODE ‘Speak & Spell’, SOFT CELL ‘Non-Stop Erotic Cabaret’, HEAVEN 17 ‘Penthouse & Pavement’, SIMPLE MINDS ‘Sons & Fascination’, NEW ORDER ‘Movement’, JAPAN ‘Tin Drum’ and OMD ‘Architecture & Morality’ all coming out within weeks of each other!

Interestingly from that list, only JAPAN and SOFT CELL are missing as currently performing entities although Marc ALmond himself made a number of concert and theatrical appearances during the year.

OMD got back to their Kling Klang roots with their best album in 30 years entitled ‘English Electric’. Although enthusiasts of the band’s pioneering work were satisfied, fans of OMD’s pop phase were confused as to why Andy McCluskey and Paul Humphreys had recorded an electronic album influenced by KRAFTWERK! This was an indicator of how the band have mutated and been perceived over the years.

But that was nothing compared with DEPECHE MODE whose single ‘Soothe My Soul’ was remixed by ZZ TOP’s Billy F Gibbons… although recognisably reworked, listeners could barely notice the join, thus fully confirming DM’s development into the world’s premiere stadium electro blues combo. Their album ‘Delta Machine’ was a big improvement on 2009’s ‘Sounds Of The Universe’, but it was no ‘English Electric’.

Among the other evergreens with new long players in 2013 were PET SHOP BOYS, BEF and Alison Moyet. Messrs Tennant and Lowe finally worked with the ubiquitous Stuart Price to produce an album that was ‘Electric’ by name and electric by nature. Meanwhile Moyet found her most musically compatible partner since Vince Clarke in Guy Sigsworth for the stunning return to form of ‘the minutes’.

Over at BEF, Martyn Ware assembled his most impressive cast of guest vocalists yet including ERASURE’s Andy Bell and CULTURE CLUB’s Boy George for the third volume of the ‘Music Of Quality & Distinction’ covers series; subtitled ‘Dark’, it featured some of Ware’s most starkly electronic work since he was in THE HUMAN LEAGUE.

Another welcome return came from electronic disco pioneer Giorgio Moroder. The icon is now 73 years old yet with his stomping track ‘Racer’, he proved could mix it with all the young pretenders. Indeed, his autobiographical contribution to DAFT PUNK’s tribute ‘Giorgio By Moroder’ reflected the respect and admiration he holds within the dance world.

Although only a few years younger, KRAFTWERK’s Ralf Hütter showed no real signs of moving his iconic brand forward despite the 3D spectacle of ‘Der Katalog 1 2 3 4 5 6 7 8’ live retrospectives in Düsseldorf, London, Tokyo and Sydney. With the various hosting art spaces still seeing their ticketing systems collapse, was this really just an elaborate publicity stunt? After all, how many heritage acts get on the news for sending websites into meltdown?

It certainly didn’t do KRAFTWERK any harm as a headlining slot at Latitude Festival and its resultant BBC TV coverage proved. However, new material was still not forthcoming but such is the demand that several unscrupulous eBay dealers in Russia were passing off CD-Rs of three tracks from METROLAND’s 2012 album ‘Mind The Gap’ as KRAFTWERK demos! Meanwhile, former colleague Karl Bartos exorcised his Kling Klang ghost with ‘Off The Record’, a collection of his unreleased KRAFTWERK-era compositions which made a fine companion to OMD’s ‘English Electric’; his upcoming 2014 world tour is eagerly anticipated.

ULTRAVOX opened for SIMPLE MINDS but with Midge Ure spending most of the year doing the rounds with solo acoustic gigs, their synth lynchpin Billy Currie released his ninth solo offering ‘Balletic Transcend’. Meanwhile in a revival of a project that both had been involved in, a fragmented VISAGE unleashed their first album in nearly 30 years to a mixed reception.

With just Steve Strange remaining from the original line-up, ‘Hearts & Knives’ was essentially a solo project. There were heated exchanges on social networks between Strange and his estranged Blitz Club partner Rusty Egan about misappropriated royalties and the validity of the reconfigured brand. Whatever, the raw video recording of the new VISAGE performing ‘Fade To Grey’ live at London’s Hoxton Bar and Kitchen stood as possibly the most embarrassing moment of the year.

Artists who made their name during Electroclash such as ADULT. and MISS KITTIN made welcome returns in 2013 while also from that era, LADYTRON’s Helen Marnie released her first solo offering ‘Crystal World’ crowd funded via Pledge Music. It was a novel but effective way of securing a promotional budget that involved fans in the process by offering exclusive updates and an opportunity to purchase exclusive memorabilia. In MARNIE’s case, items on sale ranged from hand written lyric sheets to her Mini-Cooper and a bikini!

Meanwhile, former SNEAKER PIMPS sparring partners IAMX and Kelli Ali also went down the Pledge Music route, pointing the way forward to a music industry future without interference from record label middle men. But the failure of several crowd funding campaigns proved the model was not for everyone.

The Britpop era was not particularly known for its use of electronics but two acts who did indulge, REPUBLICA and DUBSTAR, made formal comebacks on the live circuit in 2013. Seeded from around the same time, Bristol’s MESH made possibly their best album yet in ‘Automation Baby’. Celebrating 30 years in the business, techno icon WESTBAM assembled a diverse cast including Iggy Pop, Lil’ Wayne, Hugh Cornwall, Bernard Sumner and Richard Butler for an intriguing set called ‘Götterstrasse’. It was the surprise electronic release of the year.

There were also sophomore albums from LITTLE BOOTS, HURTS and AUSTRA which all drew muted responses from fans following their well received debuts; the promising spark had been present in all three acts appeared to have faded although each album had strong highlights. But there were impressive debuts in 2013 by GHOST CAPSULES, COLLINS and MODOVAR; and all this happened before the summer had started!

On the more guitar driven end of the spectrum, NIGHT ENGINE pursued an art rock aesthetic that would have made Berlin-era DAVID BOWIE proud. And of course, The Dame himself returned with ‘The Next Day’ headed by the touchingly reflective ‘Where Are We Now?’. Adopting a more post-punk attitude, GIRL ONE & THE GREASE GUNS showed how battered synths, clanky guitars and motorik drums could still come together in perfect harmony while maintaining an air of mystery.

Meanwhile, WHITE LIES continued their New wave odyssey into how THE TEARDROP EXPLODES would have sounded had Julian Cope not got upset by BLANCMANGE’s ‘Happy Families’; they even borrowed a snatch of ‘Fade To Grey’ for the title track of their third album ‘Big TV’. This was despite the mainstream music media’s attempt to downplay their use of synths although the band countered that by declaring TEARS FOR FEARS, TALK TALK and THE BLUE NILE as kindred spirits rather than INTERPOL or EDITORS.

The second half of the year brought the much anticipated debut from CHVRCHES entitled ‘The Bones Of What You Believe’. The trio have moved the goalposts as far as modern synthpop is concerned but they were not without their flaws such as the inexplicable decision to use dreary indie-styled male lead vocals on a pair of tracks. But despite this, with sold out club tours, gigs supporting DEPECHE MODE in Europe and the might of Virgin Records behind them, world domination surely beckons and with it, a new raised profile for the synthesizer overall.

Virgin Records themselves celebrated 40 years in the business with a series of London concerts and its legacy in electronic music was represented by CHVRCHES, HEAVEN 17, SCRITTI POLITTI and SIMPLE MINDS. Although the label is now owned by the Universal Corporation (having been under the control of EMI since 1992), its colourful history remains associated with the championing of new and unconventional music forms during its fledgling years.

And in a diversion from music, one-time Virgin signee Thomas Dolby produced and directed ‘The Invisible Lighthouse’, a documentary on a monument local to his childhood home. In a novel style of presentation, the film went on a tour accompanied by a live narration and soundtrack from TMDR with some of his songs dispersed in between.

Gary Numan’s long delayed ‘Splinter (Songs From A Broken Mind)’ finally became a reality. A move to LA relaxed him to the point where he was posting his holiday photos on Twitter! Musically though, he was as intense as ever but luckily, ‘Splinter’ was not the one dimensional riff monster that had been threatened and contained some of his best work in over ten years. Interestingly NINE INCH NAILS, who have been a major influence on Numan and vice versa, also returned after a period of absence with ‘Hesitation Marks’.

Over at Mute, there was another Sorcerer versus Apprentice battle when GOLDFRAPP and Polly Scattergood both released new records in the same month. Now no longer on Mute but very much still part of the extended family, MOBY released the impressive ‘Innocents’ which didn’t tinker too much with his well established formula and included a great collaboration with Wayne Coyne of FLAMING LIPS that sounded like Gary Numan in a Pentecostal church!

In 2013, North America appeared to be turning into a new haven for synth talent. There was LA pop duo NIGHT CLUB while also based in the region, SOFT METALS continued their Detroit Techno inspired progression with ‘Lenses’. Slightly eastwards, Texan based FEATHERS made an impressive statement with their debut long player ‘If All Now Here’; a European tour supporting DEPECHE MODE in January 2014 was fine recognition of their talent.

Fellow Texans ELEVEN:ELEVEN finally got their debut album ‘Through The Veil’ out too. New Yorkers HOLY GHOST! sprung the enjoyable electronic disco of ‘Dynamics’ while also from the area, AU REVOIR SIMONE returned with their fourth album ‘Move In Spectrums’ after an extended break.

But one slow burning combo were Canada’s TR/ST; led by the enigmatic and moody Robert Alfons, at times he sounded like a young LEONARD COHEN updating the sleazy demeanour of SOFT CELL. They toured extensively and garnered some more well deserved attention for their grower of a debut ‘Trst’ which actually came out back in January 2012!

However, all the good work was undone by a ticket lottery fiasco for an end of year London gig in which unsuccessful applicants were not notified until three hours before the concert, this despite communications to the contrary telling people to arrive at the door with ID. In this ever more challenging music industry, artists have to be innovative with promotion. But restricting availability and tricking fans into what was effectively a marketing scam for a larger London concert in May 2014 only alienated audiences.

Like in previous years, Europe was again a centre of creativity. Athens based synth maidens MARSHEAUX were back with their maturer fourth album ‘Inhale’. Meanwhile, their production team FOTONOVELA gathered DUBSTAR’s Sarah Blackwood, MIRRORS’ James New, KID MOXIE and SECTION 25’s Bethany Cassidy for ‘A Ton Of Love’ while riding on a crest of a wave from ‘Helen Of Troy’, their acclaimed collaboration with OMD. The song ‘Our Sorrow’ featuring James New turned out to be particularly poignant as after a year of minimal activity, MIRRORS called it a day.

From their Berlin HQ, NOBLESSE OBLIGE delivered an ‘Affair Of The Heart’ with its stark funereal cover of ‘Hotel California’ while Slovenian trio TORUL impressed audiences opening for MESH. Still fiercely independent and uncompromising, THE KNIFE divided opinion with their performance art presentation of their experimental double opus ‘Shaking The Habitual’. From Demark, TRENTEMØLLER delivered his third album ‘Lost’, an adventurous blend of real and electronic instruments that more than proved his suitability as a future prospective DEPECHE MODE producer.

With the critical acclaim still resonant for her 2012 album ‘Highwire Poetry’, Karin Park continued to tour the world but found time to co-write Norway’s Eurovision entry ‘I Feed You My Love’. Sung by Margaret Beger and leftfield by pure pop standards, it came a respectable fourth but predictably, the UK gave it nul points! Following their wonderful eponymous debut album in 2012, SIN COS TAN swiftly followed it up with the more organic but still synth friendly ‘Afterlife’.

Never one to sit still, the duo’s Jori Hulkkonen also released an EP ‘European Splendour’ with John Foxx which sounded every bit as good as its title. Foxx didn’t sit still either and collaborated with THE BELBURY CIRCLE while also curating a covers EP of his own songs featuring GAZELLE TWIN and I SPEAK MACHINE. Back in the UK, ANALOG ANGEL, AUTOMATIC WRITING,  GAPTOOTH and MAPS flew the flag for the domestic scene.

But best of the local crew though were VILE ELECTRODES; they snagged a prestigious support tour with OMD in Germany where the local crowds connected with Anais Neon and Martin Swan’s analogue electricity and opened for John Foxx in Brighton on their return. Their long awaited debut LP ‘The future through a lens’ did not disappoint and from it, the closer ‘Deep Red’ was easily the best OMD song that Humphreys and McCluskey never recorded.

As with last year, attempts were made within the industry to centralise electronic pop and dance music. But as the cancellation of the Playground Festival due to poor ticket sales proved, the two factions do not mix. Scheduled to appear on the Saturday, despite the technological influence of Gary Numan, John Foxx and Wolfgang Flür on the dance scene, the fans of those artists generally loathe the lifestyle and attitude of club culture.

Most just want to see the headline act and go home… the idea of paying an extra premium on the ticket price for a couple of DJs tagged on the see out the early hours of the morning simply doesn’t appeal! And those who are there for the DJs and larging it certainly aren’t interested in live bands. The sooner promoters and record labels realise that electronic pop and dance music are NOT the same thing, the better. That said, it was a difficult time for live events generally with a number of name acts playing to half full venues.

Elsewhere, the music press were on the backfoot with rumours that the once mighty Q Magazine and NME were in trouble. But lazy journalism and lack of adventure by both were as much to blame as any proliferation of the internet or smart technology. That aside, 2013 was a superb year where the music spoke for itself. Many of the veterans gave the best up-and-coming artists a real run for their money. And while the amount of new electronic music was at an all time high and the finest exponents rewarded with assorted high-profile opportunities as a result, a number of lesser accomplished acts suffered from the comparison with the best.

Helen Marnie said: “I think it’s great that electronic music is on a high right now but it’s so saturated as well. Everyone’s going it’s great cos it’s electronic and I’m like ‘I’m not so sure’… but there’s lots of good stuff”. In fact, the standard was so high in 2013 that some of the acts who ELECTRICITYCLUB.CO.UK featured in 2012 probably wouldn’t have got a look in this year. From those who sounded like the middling bands featured on the Janice Long Show circa 1985 to 21st Century synthpop reincarnations of HUE & CRY, the volume of music available in many ways made it quite easy to distinguish the excellent from the pleasant but ordinary material that was, as the dreaded ‘Say Nothing Auntie Of Landfill Indie’ Jo Whiley would say, “alright”!

ELECTRICITYCLUB.CO.UK accepts the continuing mission to maintain a degree of quality control in 2014 as it has done since its inception. As @TheRobMo put it on Twitter: “gatekeepers / tastemakers… it’s what we go to you for”. Meanwhile on the site’s Facebook, regular reader Brian O’Malley correctly added: “Not all synth music is great, and not all guitar music is rubbish”.

But the final word on 2013 must go to BEF and Glenn Gregory (or HEAVEN 17 if you prefer) via their electronic cover of an Ervin Drake song made famous by Ol’ Blue Eyes: “And it poured sweet and clear… it was a very good year”

ELECTRICITYCLUB.CO.UK Contributor Listings of 2013

PAUL BODDY

Best Album: MAPS Vicissitude
Best Song: MAPS Built To Last (Free School Remix)
Best Gig: ALISON MOYET at London Royal Festival Hall
Best Video: HOLY GHOST! Dumb Disco Ideas
Most Promising New Act: JUVENILES

STEVE GRAY

Best Album: CHVRCHES The Bones Of What You Believe
Best Song: MARGARET BERGER I Feed You My Love
Best Gig: BAS 2013
Best Video: IAMX I Come With Knives
Most Promising New Act: TORUL

CHI MING LAI

Best Album: OMD English Electric
Best Song: FOTONOVELA feat MIRRORS Our Sorrow
Best Gig: OMD + VILE ELECTRODES at Cologne E-Werk
Best Video: FEATHERS Land Of The Innocent
Most Promising New Act: FEATHERS

SOPHIE NILSSON

Best Album: ALISON MOYET the minutes
Best Song: SPACEBUOY Breathe
Best Gig: DEPECHE MODE at Copenhagen Parken
Best Video: DEPECHE MODE Soothe My Soul
Most Promising New Act: CHVRCHES

RICHARD PRICE

Best Album: PET SHOP BOYS Electric
Best Song: OMD Dresden
Best Gig: KARIN PARK at The Lexington
Best Video: MONARCHY featuring DITA VON TEESE Disintegration
Most Promising New Act: CHVRCHES

Text by Chi Ming Lai
12th December 2013

OMD Night Café

14 September 2013 /

omd-night-cafe-cd_med

Love and violence, suicide and murder… just a normal day in the office for OMD and it always has been!

Having released their best album for 30 years with ‘English Electric’ in April, OMD continue the promotional campaign with one of its key tracks ‘Night Café’.

Originally demoed under the working title of ‘Hopper’ after the American realist painter Edward Hopper, the track lyrically references a number of his works in a song which despite its major key template and beautiful melody, resonates with some darker themes.

Reflecting this is the controversial accompanying video which takes a subversively macabre approach. Like Edward Hopper directing ‘South Park’, the adult themes which include casual sex, cross-species coitus, suicide, gang violence and murder have provoked a plethora of complaints. One comment just went “Rubbish video. Created by juveniles for juveniles”.

But paradoxically on its suitability for viewing by minors, one observer argued “when I sit down to watch South Park of an evening, I’m expecting a sick and tasteless cartoon. When I sit down to watch an OMD video with my 5 year old on a Friday morning, I’m not” while another said “Being an animation doesn’t make the content any less ‘disturbing’ (though I’d use the word tasteless instead) than live action. I guess it’s fine for people who think South Park, Beavis & Butthead, Keith Lemon etc are suitable for a mass audience including younger folk. I don’t find any of them funny, mainly because toilet humour isn’t clever. I’m glad I’m not the only one who thinks it’s a bit naff and not worthy of OMD”.

Many of these comments are surprising; OMD’s music has always explored the not necessarily pleasant side of the human condition. Indeed, on ‘International’ from 1983’s ‘Dazzle Ships’, the emotive track began with a news broadcast that announced: “The Youth Anti-Imperialist Tribune was also addressed by a young girl from Nicaragua whose hands had been cut off at the wrists by the former Somoza guards…”

Meanwhile, other lyrical gists in OMD songs between 1980-1993 have included the suicide of a charismatic musician, the suicide of a woman who worked as a stripper because she had no other means of supporting herself, the racially motivated massacre of five innocent demonstrators by the Ku Klux Klan, the death of over 100,000 people by nuclear attack and most notably on two hit singles, the brutal execution of a teenage girl!

In support of the video, VILE ELECTRODES’ Martin Swan said: “It reminds me of some of my favourite animations (ie Monkey Dust) and captures the darker undercurrent of the lyrics that some people seem to completely miss… ‘a voyeur in a high window…’, ‘dying like I used to do…’ etc”.

In response to the negative criticisms, Swan also retorted: “Fine, if you don’t like it, you’re entitled to your opinion, but some people seem to find it extremely disturbing because it’s an animation exploring adult themes. In what century do you live? Why are you complaining it’s not suitable for your kids? IT’S NOT MEANT FOR YOUR KIDS! It’s not f**king CBeebies!”.

Meanwhile, VILE ELECTRODES themselves have been the target of many a vented spleen, courtesy of their unsettling ‘B-Side The C-side’ reworking of ‘Night Café’.

A very alternative take on the song, it was inspired by OMD’s inventive experimental B-sides of the past such as ‘Navigation’, ‘Annex’ and ‘I Betray My Friends’.

VILE ELECTRODES were invited to support OMD on their German tour after Andy McCluskey spotted them on ELECTRICITYCLUB.CO.UK; but the ‘Night Café’ remix roll of honour features not one, or even two but THREE acts that have been championed by ELECTRICITYCLUB.CO.UK

Finnish duo SIN COS TAN, who recorded one of the best songs of 2012 in ‘Trust’, have provided a Nordic electro disco reinterpretation of ‘Night Café’while fresh from the success of their ‘Metroland’ remix, the appropriately named Belgian duo METROLAND have been invited back to work their crisp mechanised magic on the Nighthawks Remix.

Also featuring on the EP are previously issued B-sides ‘The Great White Silence’ and ‘No Man’s Land’ which both premiere in physical CD format plus the unreleased McCluskey/Humphreys duet ‘Kill Me’.

All intended for ‘English Electric’ and structured in slow waltz time with particularly emotionally raw vocals by Andy McCluskey on ‘No Man’s Land’, their inclusion on the album would have almost certainly brought a halt to the seamless journey so painstakingly crafted by Paul Humphreys. This also would have made ‘English Electric’ far too long but despite pressure from within, Mr Humphreys stood his ground and told ELECTRICITYCLUB.CO.UK that in the end, “quality over quantity” won through.

More interesting though as bonuses are ‘Time Burns’ and ‘Frontline’ the former initially appeared on the limited edition ‘The Future Will Be Silent’ 10 inch picture disc, while the latter was from the flip of the ‘Our System’ 7 inch electric blue vinyl single included in the ‘English Electric’ luxury tin boxed set.

Musically, both are sample based collage experiments inspired by world events and very much in keeping with the ‘English Electric’ original vision of “what does the future sound like?”

But as the duo found with ‘Dazzle Ships’, too many abstract tracks on what, to all intents and purposes, is a pop record can confuse listeners. However, ‘Time Burns’ would have made a fitting alternative to ‘Decimal’ and the intense artistic soul searching that must have gone on when the final tracklisting was decided upon can only be imagined.

B-sides and bonus songs are always an interesting appendix to envisage the possible directions an album could have taken. It is a testament to Paul Humphreys and Andy McCluskey that while approaching their mid-50s, they both had the creative drive and emotional resolve to pool such an embarrassment of riches to fully realise ‘English Electric’.

The ‘Night Café’ 10  track EP featuring remixes by VILE ELECTRODES, METROLAND and SIN COS TAN plus the ‘English Electric’ B-sides is released on 16th September 2013 as a CD and download by BMG Records

www.omd.uk.com

www.vileelectrodes.co.uk

www.facebook.com/homeofsincostan

www.metrolandmusic.com/

Text by Chi Ming Lai
14th September 2013

Missing In Action: MIRRORS

26 August 2013 /

Broken By Silence

Photo by David Ellis

In 2013, it would appear electronic pop music is as popular as ever with classic acts such as OMD and PET SHOP BOYS producing some of their best work since their heyday. And with them come many new acts who have been inspired by the innovators.

But one comment often keeps being repeated whenever ELECTRICITYCLUB.CO.UK discusses particularly the new all-male synth acts on the scene with its colleagues and friends: “They’re not MIRRORS!”

Founded by James New (lead vocals and synthesizer) and Ally Young (synthesizer and backing vocals) in 2008, the pair were soon joined by James ‘Tate’ Arguile (synthesizer) and then Josef Page (electronic percussion) a few months later.

New and Arguile had actually been members of one-time indie hopefuls MUMM-RA who were signed to Columbia Records and had supported THE KILLERS in 2007; their best known song ‘She’s Got You High’ was used in a Waitrose advert and an episode of ‘The Inbetweeners’.

In 2009, MIRRORS released two self-produced singles ‘Look At Me’ and ‘Into The Heart’ which showcased an updated post-punk electronic sound. With New’s majestic vocals over their surreal, cinematic atmospheres, MIRRORS designated their music pop noir. After a few false starts image wise, MIRRORS settled on a look based around 20th Century European Modernism.

James New told ELECTRICITYCLUB.CO.UK: “We were fed up with how everything looked around us and we were definitely fed up with this celebration of scruffy indie rock music”. Relocating to Brighton, they impressed with their live shows locally and were eventually signed by FAT BOY SLIM’s label Skint Records with a tour supporting DELPHIC following not long after.

The quartet had a distinct vision and after aborted sessions with noted producers Richard X and Ed Bueller, their debut album was recorded and self-produced in a rural Sussex farmhouse before being mixed in New York by Jonathan Kreinik of DFA fame.

The resultant long player ‘Lights & Offerings’ was a wonderfully cohesive, seamless body of work that expressed the hopes and fears of young manhood. Following the philosophy of the Bauhaus movement’s founder Walter Gropius in uniting art and technology, the album crucially possessed an intelligent balance between precise electronic beats and emotive vintage synthesizer melodies.

James New had certainly kept his promise when he described the album as a collection of “really great pop songs” that contained “very densely produced, heavily layered, emotional, soulful electronic music”. Epic tracks such as ‘Fear Of Drowning’, ‘Somewhere Strange’ and the sub-11 minute ‘Secrets’ showed depth and ambition while there was accessible but cerebral synthpop in ‘Searching In The Wilderness’, ‘Hide & Seek’ and ‘Ways To An End’. And to show off their versatility, there was the beautiful electro cover of cult Country & Western number ‘Something On Your Mind’.

Despite delivering a fine debut album, MIRRORS didn’t get the recognition they deserved. There were several possible reasons for this. By the start of 2011, there appeared to be a synthpop backlash following the success of LA ROUX, LITTLE BOOTS and even LADY GAGA during 2009-2010.

Certainly the music press only seemed to embrace bands with a rogue electronic element if there was an obvious guitar backdrop (see THE KILLERS, LCD SOUNDSYSTEM and WHITE LIES). But ultimately, they wanted combos with beards, guitars and preferably no synthesizers at all (see KINGS OF LEON and MUMFORD & SONS!)

It would be fair to say that MIRRORS probably also suffered from being compared to HURTS, particularly in Germany, the one market where MIRRORS were expected to prosper and the only country where the quartet undertook a full headline tour. HURTS’ ‘Wonderful Life’ had been a No2 hit there and while the arthouse monochromatics of both acts indicated they each had a common goal to subvert the perception that bands needed to wear jeans and be hairy in order to attain any kind of credibility, musically the two acts were kilometres apart.

HURTS were more TAKE THAT and SAVAGE GARDEN cleverly dressed as ULTRAVOX, while MIRRORS really were the illegitimate offspring of OMD and DEPECHE MODE! But even the European public didn’t quite see it like that and certainly HURTS were able to attain more promotional momentum thanks to the weight of the Sony Corporation behind them!

While it could be expected that the real music brigade would be resistant to MIRRORS and their thoughtful aspirations, there was a surprising refusal to accept them within the electronic community itself. Electronic music didn’t die post-grunge but had mutated into numerous sub-genres and cottage industries.

But there was many a petty jealously embroiling as this band seemingly appeared out of nowhere and picked up on the distinctly European legacy that had been left behind back in the day to satisfy the synthobic territory of the USA with the advent of MTV. Comments like “Synth Britannia throwbacks”, “credit crunch KRAFTWERK” and “OMD tribute act” were among those banded about.

Then there was OMD’s drummer Mal Holmes’ amusing quip that “MIRRORS do OMD better than OMD do OMD…” – although complimentary, the comment may have inadvertently had an adverse effect. It was known to have got up the backs of several OMD fans who felt that OMD could do no wrong, despite them delivering a disappointing comeback album in ‘History Of Modern’! Ultimately, it was as if some wanted MIRRORS to fail.

Photo by David Ellis

Of course, OMD were one of MIRRORS many influences. The invitation to support the band on their 2010 European tour proved to be a blessing and a curse. While opening for OMD put MIRRORS firmly in front of an audience who were most likely to embrace them, it also drew comparisons due to the shared musical and sartorial roots of both bands.

The tour was a great success and enabled MIRRORS to undertake a headlining sojourn of Deutschland but the decisions to accept invitations to open for OMD in June and September of 2011 may have been ill-advised in hindsight.

With MIRRORS also playing events such as Back To The Future – Tomorrow Is Today with Gary Numan and John Foxx plus Godiva Festival with HEAVEN 17 and BLANCMANGE as well, MIRRORS were now being perceived as a Synth Britannia support act! James New later admitted: “I think we’ve made without realising it, maybe a record that was slightly more derivative than we hoped to make. We can be honest about that!”

This must have been preying on the band’s mind because prior to the Autumn batch of OMD dates and a slot at Bestival sharing the bill with SANTIGOLD and ONETWO, MIRRORS cancelled their appearances to “write new material”. Many followers of the band sensed all was not well and this was confirmed in a statement a few weeks later when Ally Young announced he was leaving.

The reason appeared to be good old fashioned musical differences; “We were coming to the point where writing the second record had begun. I felt like I’d taken it as far as I could perhaps emotionally as I wanted to” Young said in December 2012, “we were writing things that were good but I didn’t feel like I wanted to be part of it anymore. I didn’t know what I wanted to do at the point but I did know it wasn’t that!”

MIRRORS parted ways with Skint Records although a belated remix album ‘Deconstructed’ was issued before Christmas 2011. But it appeared as though MIRRORS were done and dusted.

Then at the start of 2012, the remaining threesome announced the release of an EP ‘This Year, Next Year, Sometime…?’ which featured two newly recorded songs ‘Dust’ and ‘Shooting Stars’; the remaining songs were various works-in-progress or demos.

While it appeared to be nothing more than a stop-gap, it showed that Messrs New, Arguile and Page were still determined to pursue their artistic ideals just as DEPECHE MODE had with ‘A Broken Frame’ back in 1982 after Vince Clarke left. Using a wider palette of possibilities including more prominent guitar and conventional bass, the sparser direction still retained their essential melodic components. It proved if nothing, that MIRRORS were in still business although between premises and working from home.

Meanwhile after producing an aborted second album for Britpop influenced rockers VIVA BROTHER, Ally Young teamed up with their singer Lee Newell to form LOVELIFE and uprooted to New York. While still very much synth and sample led, the duo developed a sound based more around R’n’B grooves which were very much influenced by their new urban surroundings. Appropriately enough, they toured North America supporting THE NEIGHBOURHOOD while their first two EPs ‘El Regreso’ and ‘The Fourth Floor’ were well received; from the former, the HARD-FI meets OMD template of ‘Brave Face’ was a particular highlight.

On the MIRRORS front, things have been slightly less clear. Although a single ‘Hourglass’ backed with the superb ‘Between Four Walls’ was issued via Bandcamp in Summer 2012, New and Arguile reformed MUMM-RA for a one-off show later that Autumn. Fast forward to April 2013 and MUMM-RA have released a new download only EP. Other than a low-key gig in the Czech Republic at the FIS Ski Flying World Cup in February 2013, MIRRORS have remained silent. However, it is understood the band’s management have been answering enquiries for live bookings from various parties in 2013, although none of these have actually come to fruition.

Meanwhile, New has contributed vocals to two songs with production duo FOTONOVELA, best known for their work with MARSHEAUX and co-writing the OMD song ‘Helen Of Troy’. The vibrant first song from the sessions was ‘Romeo & Juliet’ while the magnificent second number ‘Sorrow’ is still to be aired publically. Whatever happens, MIRRORS are greatly missed and one wonders what the reaction to ‘Lights & Offerings’ might have been had it been released in the more sympathetic climate of 2013, a year which has seen KRAFTWERK headline Latitude and synthpop trio CHVRCHES get signed to Virgin Records.

Photo by David Ellis

After two and half years, what remains is the music and it is only after some distance that there can be an objective reassessment. Thus ‘Lights & Offerings’, with its associated bonuses, remains an impressive body of work. OMD’s Andy McCluskey once said MIRRORS had the potential to become “the DURAN DURAN of modern synthpop”. Even if that prospect is to remain unfulfilled, it really would be shame if there was to be no more great music from MIRRORS.

‘Lights & Offerings’ is still available via Skint Records

The EP ‘This Year, Next Year, Sometime…?’ and single ‘Hourglass’ are available as downloads via Bandcamp from http://mirrorsofficial.bandcamp.com/

https://www.facebook.com/theworldofmirrors

http://theworldofmirrors.blogspot.com/

Text by Chi Ming Lai
26th August 2013

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