OMD are a most curious beast. To the casual listener, they are the popmeisters who conquered Hollywood with ‘If You Leave’ from the John Hughes blockbuster ‘Pretty In Pink’ and had hits such as ‘Locomotion’, ‘(Forever) Live & Die’ and ‘Sailing On The Seven Seas’.
But because of these ubiquitous crowd pleasers, what is often forgotten about OMD is their period as electronic innovators. Here, they married Teutonic experimentation and motorik rhythms with a distinctly English interpretation of Elektronische Volksmusik. There were also the intelligent, heartfelt lyrics about inanimate technology such as planes, oil refineries and phone boxes as well as deceased female historical figures.
Pioneering early singles ‘Messages’, ‘Enola Gay’, ‘Souvenir’ and ‘Maid Of Orleans’ actually became international hits while the 1979 KRAFTWERK homage and one-off Factory single ‘Electricity’ is now rightly regarded as a synthpop classic. So with this particular formative legacy, it’s not surprising that OMD have produced a brand new opus entitled ‘English Electric’.
Having split in 1989, the original creative nucleus of Andy McCluskey and Paul Humphreys reunited in 2007 for a tour of their biggest selling album ‘Architecture & Morality’ before their comeback ‘History Of Modern’ in 2010. It may have been well received generally, but admirers of OMD’s past knew of their capabilities and were for the most part, unsatisfied.
After the disparate collection of songs on ‘History Of Modern’, ‘English Electric’ is a cohesive listening experience. Having mostly worked on recordings separately for its predecessor, ‘English Electric’ is a true creative partnership between Humphreys and McCluskey, each playing to their strengths and confronting their creative tensions for the better by actually sitting in a room together. Adopting the theme of broken ideals and Utopian dreams ending in dystopic failure or regret, they came up with a mantra: “what does the future sound like?”
Paul Humphreys’ 2011 audio visual collaboration with ‘Generation X’ author Douglas Coupland for Alcatel-Lucent entitled ‘Electric Ikebana’ indicated there were aspirations to procure a more abstract work. Certainly for the launch of the album, OMD made a bold statement of intent with the voice collage teaser ‘Decimal’ while the first single was the lengthy ‘Metroland’; anyone who loves ‘Europe Endless’ should not have any trouble digesting the new material.
With ‘Our System’, the end result is stratospherically breathtaking! But this is what many love about OMD’s idiosyncratic nature. Out of their experimental confines come various accessible pop structures. ‘Night Café’ is a prime example; Paul Humphreys has described it as “She’s Leaving’ meets ‘Souvenir”. There’s also return of a Paul Humphreys lead vocal on the lovely ‘Stay With Me’ and the NEU! produced by Joe Meek tornado of ‘Dresden’ as the latest in the lineage of OMD songs about the mechanics of war and its consequences on the human condition.
The thinking behind ‘English Electric’ appears to have a conceptual affinity with ‘Dazzle Ships’, the fractured nautical journey that was panned on release in 1983 but has since been vindicated as a brave sonic exploration of Cold War tensions and economic corruption. ‘English Electric’ can be considered as having a spiritual connection. ‘Dazzle Ships’ was partly inspired by the short wave radio broadcasts of yesteryear and today’s equivalent could be online social networking. And indeed, the internet has played a big part in the construction of ‘English Electric’.
‘English Electric’ also sees OMD collaborate with both established and rising figures from the European electronic scene. FOTONOVELA are a production team best known for working with Athens based female synth duo MARSHEAUX. George Geranios and Nick Bitzenis were OMD’s label bosses in Greece via their Undo Records and McCluskey told them he wanted to write a song called ‘Helen Of Troy’.
And then there’s ‘Kissing The Machine’ with ex-KRAFTWERK member and electronic godfather Karl Bartos. From ELEKTRIC MUSIC’s 1993 ‘Esperanto’ album, it featured McCluskey on guest lead vocals and has now been rescued in a similar fashion to when ‘Dazzle Ships’ resurrected two 1981 B-sides. The vocal melody, words and lead synth melody have been retained from the original and Paul Humphreys has completely reworked the track from scratch, out-Kraftwerking KRAFTWERK. Featuring Claudia Brücken speaking in a German robot voice, with what could be perceived as KRAFTWERK, OMD and PROPAGANDA on the same song, the Anglo-German amalgamation is synthesized heaven and will give the Euro-sceptics even more to worry about!
There has been talk of ‘English Electric’ being OMD’s last album. The robotic resignation of penultimate track ‘Atomic Ranch’ certainly sets the tone before what could be considered OMD’s epitaph, the soulful ‘Final Song’. ‘English Electric’ is a definitive artistic statement. But is there anywhere for OMD to go after this?
‘English Electric’ uses the following instrumentation:
Paul Humphreys: Synth-Werk, ARP 2600, M Tron Pro, Trillion, Omnisphere, Oberheim SEM V, Morphoder, Jupiter 8V2, Minimoog V, Prophet Pro 53, Massive, Vacuum, Boom
Andy McCluskey: Vacuum, Indigo Virus, M Tron Pro, Jupiter 8, Vox Machina
‘English Electric’ is released by BMG on 8th April 2013 in CD, deluxe CD+DVD, download, vinyl and tin boxset formats. The tin boxset includes a bonus 7 inch vinyl single of ‘Our System’ featuring an exclusive track ‘Frontline’ on the B-side.
OMD’s 2013 UK tour with special guests JOHN FOXX & THE MATHS includes:
Margate Winter Gardens (28th April), Birmingham Symphony Hall (29th April), Nottingham Royal Centre (1st May), Ipswich Regent Theatre (2nd May), London Roundhouse (3rd May), Bristol Colston Hall (5th May), Oxford New Theatre (6th May), Sheffield City Hall (8th May), Leeds Academy (9th May), Manchester Academy (10th May), Glasgow Royal Concert Hall (12th May), Gateshead Sage (13th May), Liverpool Empire (14th May)
The Benelux shows featuring special guests METROLAND include:
Utrecht Tivoli (17th May) and Brussels Ancienne Belgique (20th May)
The German tour with special guests VILE ELECTRODES includes:
Hamburg Docks (21st May), Bielefeld Ringlokschuppen (22nd May), Berlin Tempodrom (24th May), Leipzig Haus Auensee (25th May), Köln E-Werk (27th May)
Fact: OMD’s ‘Architecture & Morality’ is a benchmark of electronic pop, not just within the Synth Britannia era but the genre itself.
Founder member Paul Humphreys said back in 2010: “I think ‘Architecture & Morality’ was a complete album, it was just so whole. The sound of it was unique, every song… it wasn’t a ‘bitty’ album. A few of our albums are ‘bitty’ but that was where we finally found a sound that was OMD. I think the first two albums were leading to ‘Architecture & Morality’. We were refining our sound and then we found it.”
The classic OMD line-up of Andy McCluskey, Paul Humphreys, Malcolm Holmes and Martin Cooper split in 1989 but when it was announced in 2007 that they would be reuniting to play ‘Architecture & Morality’ and more at a series of shows in Europe, they sold out within a few hours. Fans from around the globe gathered in anticipation and OMD knew they had to do their legacy justice.
But there was the technical issue of capturing the distinct textures of their meisterwerk: “It was a real challenge on that tour because we really wanted to do that album justice but we didn’t have any of the synths or anything we used to make those records. But we wanted to be true to the album. So we had to buy synths off eBay to get those sounds back, and we then just re-sampled them. We even went back to the multi-track tapes. Anything that was a monophonic sound, I could slice up into notes, loop them and put them on each key so I could play the sound exactly how it was. It was great, great fun; I loved doing that and it was a really lovely moment.”
One of these concerts was captured for posterity as both a live album and DVD. Titled ‘OMD Live: Architecture & Morality & More’, it was recorded at Hammersmith Apollo on Saturday 19th May 2007.
ELECTRICITYCLUB.CO.UK were present so more than qualified to pass judgement on this pair of artefacts which are now reissued as a combined package, although the DVD bonus features from the original Eagle Rock release are now omitted. First things first, the concert itself was a glorious celebration of a great band and their inventive catalogue of work.
Andy McCluskey’s voice was better than it was back in 1981 when the ‘Live At The Theatre Royal – Drury Lane’ concert was recorded, save a few really high notes. His geography teacher at the sixth form disco dancing was still intact too after 14 years away from the stage, if slightly more restrained and assisted with the odd strobe effect.
Likewise, Paul Humphreys had become a more accomplished musician and on his two vocal party pieces ‘Souvenir’ and ‘(Forever) Live & Die’, his voice had particularly strengthened. On the drum stool, Mal Holmes lost none of his energy or power despite a heart attack a few years previously although keyboardist Martin Cooper was now seated behind his Roland Fantom X8 for health reasons. As the band’s trained instrumentalist, he picked up like he had never been away, and handled the solos of tunes he wasn’t actually involved in like ‘Sailing On The Seven Seas’ with vigour.
The band certainly enjoyed the experience as Paul Humphreys recalled: “The tour where we played ‘Architecture & Morality’ in full was particularly great for us. We just loved playing those songs and we played a few songs that we’d never played live before so it was really fantastic”.
Visually, the show was stunning with bespoke projections by Hambi Haralambous while the crisp sound was top notch too.
However, despite the presentation of ‘Architecture & Morality’ alongside iconic singles such as ‘Messages’, ‘Enola Gay’ and ‘Electricity’, the inclusion of ‘So In Love’, ‘Talking Loud & Clear’ and ‘If You Leave’ in the set slightly numbed the artistic momentum established by the first part of the show, while ‘Pandora’s Box’ lacked drive in its live rendition.
Now considering how good the concert actually was, the DVD is comparatively disappointing. The editing in particular is poor with McCluskey’s windmill moves on ‘Maid Of Orleans’ slow-moed to the point of making no sense with the emotional tension in the music. The widescreen visuals lose their impact too… it really was a show you had to have been at to fully appreciate. Also, with so many enthusiastic fans in the audience who could have been captured for prosperity, the cameras choose to focus on three rather bored looking, ungrateful individuals in the front row who stand motionless with their arms folded through most of the performance!
But while this DVD is not up there with the best live music films such as DURAN DURAN’s ‘Live From London’, RAMMSTEIN’s ‘Völkerball’ or ERASURE’s ‘The Tank, The Swan & The Balloon’, it is still a worthy memento that documents the return of one of the UK’s most under appreciated bands. Don’t forget ‘Maid Of Orleans was actually the biggest selling single of 1982 in Germany at a time when Der Bundesrepublik was the biggest music market after the USA and Japan… maybe they should have filmed this tour in Cologne?
ELECTRICITYCLUB.CO.UK were there too and that gig was even better than this one! The crowd chant of “ZU-GA-BE, ZU-GA-BE” to the closing Compurhythm beats of ‘Enola Gay’ remains unforgettable…
OMD’s 2013 UK tour with special guests JOHN FOXX & THE MATHS includes: Margate Winter Gardens (28th April), Birmingham Symphony Hall (29th April), Nottingham Royal Centre (1st May), Ipswich Regent Theatre (2nd May), London Roundhouse (3rd May), Bristol Colston Hall (5th May), Oxford New Theatre (6th May), Sheffield City Hall (8th May), Leeds Academy (9th May), Manchester Academy (10th May), Glasgow Royal Concert Hall (12th May), Gateshead Sage (13th May), Liverpool Empire (14th May)
The Benelux shows featuring special guests METROLAND include: Utrecht Tivoli (17th May) and Brussels Ancienne Belgique (20th May)
The German tour with special guests VILE ELECTRODES includes: Hamburg Docks (21st May), Bielefeld Ringlokschuppen (22nd May), Berlin Tempodrom (24th May), Leipzig Haus Auensee (25th May), Köln E-Werk (27th May)
The new OMD album ‘English Electric’ is released on 8th April 2013 by BMG
Belgian electronic duo METROLAND have finally unveiled their remix of OMD’s new single entitled, appropriately enough, ‘Metroland’ and have even produced a promo video too.
Ironically, despite the accusation by some of them being KRAFTWERK copyists, METROLAND have actually stripped away the more obvious Kling Klang Synthanorma elements.
The Blitz Club’s legendary DJ Rusty Egan even enthusiastically commented “now it’s LOST the Kraftwerk, I like it MORE!”
METROLAND told ELECTRICITYCLUB.CO.UK about their remix: “We both hate those darn f*cked up club mixes where you can barely recognize something of the original. We started all from scratch. So, every sequence and bass line, melody was played as-new (we did not have a MIDI file), and we searched for new sounds. In the end, it became a more orchestral mix spiced up with the typical bass sounds from METROLAND, along with our famous layered sequences.”
Passenger A and Passenger S remembered: “It was a tough job as the song itself is a splendid OMD song with a KRAFTWERK spirit, a shivering combination, so we hope our remix will attract OMD fans”.
On receipt of this reworking, Andy McCluskey emailed METROLAND to say he was “loving it!!” The duo were extremely chuffed with the reaction: “Just imagine: making a joyful remix and getting such a reaction from someone you have been looking up to since you were a teenager!!”
METROLAND have a manifesto: a conceptual band, consisting of Passenger A and Passenger S, bringing synthetic sounds from the ‘underground’, highly influenced by KOMPUTER and KRAFTWERK.
Certainly the capital letter ‘K’ is highly resonant in their sound but in many ways, as the single ‘Enjoying The View’ indicates, METROLAND are perhaps more textural, a ride through an electronic landscape, layered with authentic warm sequences, robotic vocals and uniquely vintage drum machines, all designed for the commuter world.
While hints of seminal Belgian synth trio TELEX also preside on this journey, with their debut album ‘Mind The Gap’, METROLAND provide a soothing headphone soundtrack for ‘Enjoying The View’, kind of like BEF’s ‘Music For Stowaways’ but without the Cold War dystopia. The slithery piano run of the beautiful ‘T.F.L’ is something to be savoured while really, ‘It’s More Fun to Commute’ and ‘(Much) More Fun’.
‘Mind The Gap’ has certainly impressed the wider electronic music community and invitations to both remix and support OMD have been evidence of that. And the song that the duo have been asked to remix?? Yes, ‘Metroland’! The duo kindly spoke from their base in Brussels about their technological ideals and commuter concepts.
Where did the idea for a concept album about commuting come from?
With METROLAND, we never started out that way nor did we plan to create a concept album, really. METROLAND, as a band, was not even founded in the true essence of the word; it kind of derived out of a creative, musical frustration. In our former musical career, which lasted already for 20 years at that point, we felt that we reached all that could have been achieved. There were very, very few ambitions to fill and no more goals to achieve. Another reason was the boundaries that we were setting ourselves.
While making music and experimenting with sounds and ideas we got frustrated as so many good ideas would not fit in with our former works and policy. Hundreds of arrangements and melodies were rejected due to this limitation. But we kept on going, creating songs, making arrangements, carefully watching not to throw everything away.
At a certain moment we created a baseline with a rather sinister feeling about it and we were struggling yet again with the question “erase this: yes or no?”. We went for “no” and started working on it, this time with no boundaries. Some weeks later we picked it up again and a second and a third track turned out in the same idea.
After many sleepless nights and loads of conversations on how to proceed with our musical creativities, we concluded that some of the demo-songs we had now made were too strong to leave untouched. Still, they could not be hosted under our former project, so the first step towards the new band ‘METROLAND’ was taken.
The name METROLAND itself comes from the UK band KOMPUTER. They used it as the name of a remix of their song ‘Looking Down On London’ (coincidentally, this remix happens to be Passenger S’ favourite piece of music). Still, at the point where we decided to head for that different musical direction, we did not even talk about any concept to fit all those arrangements.
It was much later, when we picked up some nice samples from the underground, that we started working towards the end result where we are now with our conceptual album ‘Mind The Gap’. The combination of METROLAND as a band name and the first track (pun not intended) ‘Mind The Gap’ triggered us much further than we ever thought possible.
We were already used to working around a concept, which we feel has been one of our very strong points, but with METROLAND we took this conceptual idea to the hilt and beyond. Result is that our album ‘Mind The Gap’ is all about metro systems, the Tube, commuting and transport in general. The samples, the artwork, the titles….they all breathe the same concept. As you can read, this amazing ride that brought us up to where we are now didn’t just happen overnight.
Why did you choose the London Underground as the location, as opposed to say, the Paris Metro or Berlin U-Bahn?
The London Underground is the one that stands out the most to all of us.
She is like the mother of all undergrounds in the world carrying that special atmosphere, more than any other underground, we find, without being condescending to all other magnificent stations.
To be quite frank, we did not particularly focus on the London Underground; our release is more of an international ode to all underground systems around the globe.
The phrase “Mind The Gap” is quintessentially English so how did that enter your mind space to become the title of your album?
On one hand it was by accident, but on the other hand this must have been the most compelling title to be used, as it goes hand-in-hand with metro stations. Just enter the Tube somewhere and you hear the voice chanting “mind the gap….mind the gap”… brilliant.
We believe that if you would ask someone to name one of the most known trademarks regarding the underground it would be precisely that phrase. Our first album, dealing with that topic couldn’t have any better title than ‘Mind The Gap’.
METROLAND composed a track in tribute to Harry Beck, the Underground map designer. Do you regard him as one of modern life’s unsung heroes?
When we were triggered, as mentioned earlier, we started browsing the web for stories, histories, and monuments and so on. One of the names that struck us was that of Henry Charles Beck, or Harry Beck, the man who invented the map that millions of commuters have been using since that day. He was destined to be part of our album, there was no other way.
Which tracks have been your own favourites on the ‘Mind The Gap’ album and why?
On our Facebook page, some months ago, we made a kind of walk-through of all our songs on the album and each song was explained into the finest detail how they were conceived. They all mean a lot to us equally, as this first album was really a leap into the unknown.
If Passenger A had to answer he would say ‘Enjoying The View’, because it was the first song that he made almost on this own (besides the tremendous end mix, where Passenger S spends hours and hours on tweaking and mixing) during one evening and he even remembers the moment where he said “this is it!”
For Passenger S, this is little different, every track has a certain degree of importance, every track took little over 20 hours to get it in the final mix. Loads of time and energy can be found in every song. The standard was set on high level, every little effect or stereo image, filter setting was precisely programmed.
Due to this, every song is kind of a special favourite in its way. But if one truly needs to be picked it would be ‘Inner City Transport’. This was the most difficult track to mix, as it consists out of three separate parts that needed to blend, spread over more than 7 minutes.
What synthesizers and plug-ins have you been using to construct your sound?
Since 2005 we solely work using Reason (Propellerheads). For the both of us this is simply a fantastic and unlimited tool.
We have had tons and tons of sounds that we had been using in our former project and now with METROLAND, it feels like we are rediscovering shiploads of new sounds that we can finally use, simply because now we allow it ourselves. It is extremely liberating in a way. We are not shy to use those precious bass sounds like we used to, and we now easily blend them with sounds we would never consider using before.
Reason is not just worthwhile using for its sound library; it is also very versatile when it comes down to the use of every effect or filter setting. You can program nearly every nano-second in a song, the perfect tool for making the sort of techno pop we create with METROLAND.
Have you tried the Synth-Werk VST and did you find the ‘Musique Electronique’ new KRAFTWEK track hoax that used it amusing?
We never used it. We do know of the hoax, yes, and admittedly, we were tricked too. We guess because so many are eagerly waiting for some new work from the Düsseldorf foursome, the hoax easily started to live its own life.
Obviously you are fans of KRAFTWERK but what is it about them that is special for you?
Maybe it’s their way of working, their musical attitude of “less is more”, or their endurance to find a sound that matches a song so perfect as if it was designed specifically for that one song. Despite of all of this, we are fans of much more bands than only KRAFTWERK, even if they are the pioneers of technological music. KRAFTWERK can easily be considered as the band that brewed the foundation for every electronic pop song.
It’s not just inspirations from them that we used, as we also have influences from bands like OMD, NITZERR EBB, MARSHEAUX and ORBITAL to name some of the more important ones. We find that only the real tutored listener, who spends his time under the headphones, discovers the true face of METROLAND. This listener will hear more than just a hi-q, some bleeps and vocoder voice. That is indeed a typical KRAFTWERK ingredient.
Fortunately we do have a few fans who truly listen to the deeper sound of METROLAND. If you listen carefully, there is only a small hint from METROLAND and even then the difference is huge. In contrary to METROLAND, our bass sequences are more pounding, our tempo is always fast paced, we use multi-layered sequences and rarely one basic sequence which gets spread over an 8 minute song….and so much more to discover in our music.
Which is your favourite KRAFTWERK album and have you been able to see any of ‘The Catalogue 1-2-3-4-5-6-7-8’ shows?
Sadly, living in Belgium, makes it hard to see any of the shows. The show at Tate Gallery was sold in about 10 minutes. Before we even heard about it and start thinking about taking holiday from work and so on, all tickets were sold.
For Passenger A, ‘Electric Cafe’ (he stills prefers that title) is the favourite KRAFTWERK album.
Passenger S, his most favourite KRAFTWERK song is ‘Tour de France’ (in its original form, as he believes the 2003 is a boring release, something like: “give a 10 year old a synthesizer and a sequencer and try to copy some old KRAFTWERK song”), but when it comes down to albums, the album with the most nice songs would be ‘Trans-Europe Express’. Along with ‘Europe Endless’ and ‘’Showroom Dummies’, these timeless songs are high-lights in their career and considered by Passenger S as the actual start of their electronic pop.
It has been 10 years since the last new KRAFTWERK album, are you filling a void for their fans or do you want to be seen as a different entity altogether?
We never intended to fill a void or try to meet a demand, as such. We simply wanted to make music without boundaries and use all ingredients that we liked from so many electronic artists ; a melody, a baseline that carries a song, matching percussion where stereo-effects that are gone before the listener realises what has happened, catchy samples that fits the purpose…all this to make METROLAND to what it is now.
We are indeed a different entity; we don’t have the intension to fill up something that may never happen again (hence: a new album by KRAFTWERK).
How do you respond to people who say you are maybe just Kling Klang copyists?
We know they are amongst the many that never really listened in a profound manner. All they hear are the robotic voices and electronics. Sad, really, as they miss out on all the aural fun that is happening in the music. We wonder which band these days is unique, which band doesn’t have roots?
If a band picks up two guitars, a drummer, and a lead singer, are they a copy of THE BEATLES? So are we a copy because we use synthesizers, a vocoder and bleeps? We are not a copy, we just use ingredients from things that happened before and use them again in our personal blend. If only those lazy, lame and short minded people would give it that little extra second of attention, it would all make it more interesting to read their reviews.
How did the OMD support slot come about?
The story started in April last year where Andy McCluskey wrote us a personal mail explaining that they have a new song called ‘Metroland’ and that by browsing the internet, whilst looking for details on the word “metroland”, he came across our website, some interviews, a collaboration with MARSHEAUX and so on.
Appropriately, he was sitting in the train when he wrote us that first mail. Ever since that day, we had been in touch regularly and in August we met near Antwerp after their gig, where he asked us to act as support for some gigs, but nothing was concrete at that time.
Now it is happening on the Benelux dates (May 17 in Utrecht and May 20 in Brussels)….and we are very happy and proud to be their support act.
You are remixing OMD’s new single ‘Metroland’. As the song is already quite Kraftwerkian, what have you done to make it different to the original?
Our remix must have been the most stressing and tiring work ever. The deadline was rather short, and on top of that this was a remix for a band that we both idolized for many years (since 1982 for Passenger S to be exact).
We aimed for a METROLAND interpretation, the METROLAND sound and feel of a fascinating OMD track. We both hate those darn f*cked up club mixes where you can barely recognize something of the original. We started all from scratch. So, every sequence and bass line, melody was played a-new (we did not have a MIDI file), and we searched for new sounds. In the end, it became a more orchestral mix spiced up with the typical bass sounds from METROLAND, along with our famous layered sequences. It was a tough job as the song itself is a splendid OMD song with a KRAFTWERK spirit, a shivering combination, so we hope our remix will attract OMD fans.
Andy McCluskey replied to our mail after we delivered, “loving it!!”, so we have achieved exactly what we intended. Just imagine: making a joyful remix and getting such a reaction from someone you have been looking up to since you were a teenager!!
Have you decided on a concept for your next project?
We have some ideas about broadening the transport idea, some more concrete than others, but nothing for the full 100%. All we do will grow, change on daily bases, but will all make one complete concept again…some day.
We are slowly collecting new arrangements; about four are already in a song format, so we are facing the start of a new album. Only one track made it way in advance and that was ‘2013’ to which the reactions were pretty overwhelming. This only makes us more confident we are on the right track.
Just make sure to hop on our underground METROLAND ride, because it will be second to none, guaranteed!!
ELECTRICITYCLUB.CO.UK gives its warmest thanks to METROLAND
METROLAND play as special guests of OMD at Utrecht Tivoli on Friday 17th May and Brussels Ancienne Belgique on Monday 20th May 2013.
‘Mind The Gap’ is released by Alfa Matrix in CD, 2CD Limited Edition and download formats
VILE ELECTRODES have been confirmed as OMD’s support for the German leg of the ‘English Electric’ tour.
The striking duo of Anais Neon and Martin Swan could be described as sounding like THE SMITHS reincarnated as CLIENT, a template best heard on ‘Play With Fire’, the lead track of their self titled EP. Just recently, they released the electro-waltz drama of ‘The Last Time’.
But one of their finest moments is the still to be formally issued ‘Deep Red’, a gorgeous seven and a half minute synth ballad that recalls the sweeping emotive overtones of OMD standards such as ‘Statues’, ‘Stanlow’ and ‘The Romance Of The Telescope’.
The band are currently in the process of finishing their debut album but announced via their Facebook: “We’ve just been confirmed as the support band for OMD’s tour of Germany in May. I don’t really have the right words to describe how overwhelmed we are”. Synthesist Martin Swan added: “It’s so beyond exciting. There was once a teenage boy whose first ever gig was watching OMD playing at the Hammersmith Odeon on ‘The Pacific Age’ tour – His life changed that day, and it changed for this moment…”
By pure coincidence, OMD’s Andy McCluskey spoke to ELECTRICITYCLUB.CO.UK a few days ago and said: “I enjoy your website and I’ve discovered some very interesting bands actually… one of them is going to support us in Germany!”.
Vocalist Anais Neon herself was still in shock at the news and said: “I’m flabbergasted. We basically had an email last Thursday from their tour management team asking us to do it. I almost fainted”! Without the lovely folk that champion us, I doubt we’d be in this position, so thank you for all you do spreading the Vile word”.
VILE ELECTRODES continue a tradition of acts championed by ELECTRICITYCLUB.CO.UK such as MARSHEAUX, VILLA NAH and MIRRORS who have all now opened for OMD. Anais had one more thing to say to ELECTRICITYCLUB.CO.UK though before getting dressed up to see KRAFTWERK at Tate Modern: “Just off to have a little cry now… I might be drunk later x”. It was quite a day!
ELECTRICITYCLUB.CO.UK gives its congratulations and best wishes to VILE ELECTRODES
OMD’s 2013 German tour with special guests VILE ELECTRODES includes:
Hamburg Docks (21 May), Bielefeld Ringlokschuppen (22 May), Berlin Tempodrom (24 May), Leipzig Haus Auensee (25 May), Kӧln E-Werk (27 May) – please visit www.omd.uk.com for further details
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CD+DVD is released via Salvo Sound & Vision on 22nd April 2013
and the 
EP are released as downloads on 25th March 2013 by BMG
is released by Alfa Matrix in CD, 2CD Limited Edition and download formats
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