Tag: OMD (Page 6 of 23)

30 TRACKS THAT SHAPED ELECTRICITYCLUB.CO.UK

13 March 2020 /

So how did ELECTRICITYCLUB.CO.UK arrive at its discerning musical ethos?

It probably all began with a very liberal and Bohemian junior school teacher named Miss Nielsen who played KRAFTWERK’s ‘Autobahn’, PINK FLOYD’s ‘Echoes’ and the soundtrack of ‘A Clockwork Orange’ to the class, with the unusual sound of all three providing an otherworldly, yet captivating listen.

Later on, various parts of the 22 minute ‘Autobahn’ track appeared on the end credits of BBC children’s drama ‘Out Of Bounds’ and opened ‘Newsround Extra’, but 1977 was to become the true Year Zero in electronic pop. With ‘Oxygène’, ‘Sound & Vision’, ‘Magic Fly’ and ‘I Feel Love’ all hitting the UK Top 3 within months of each other, this was effectively the beginning of synths designing the future.

Here is a very personal list of 30 tracks that shaped ELECTRICITYCLUB.CO.UK – these are primarily songs that solidified and expanded the interest in synth or later provided hope in the face of real music snobbery and the return of the guitar in the wake of Britpop.

There will be grumbles that the likes of YELLOW MAGIC ORCHESTRA, HEAVEN 17, YAZOO, DURAN DURAN, TALK TALK, PROPAGANDA, CLIENT, RÖYKSOPP and others are not featured, and certainly if this list was a 40, they would all be included. But this list is an impulsive snapshot of ELECTRICITYCLUB.CO.UK’s own journey in music, as opposed to being a history of electronic pop or a best of.

What? No industrial, acid house, techno or dubstep you ask? Well, that’s because ELECTRICITYCLUB.CO.UK disliked the majority of it. While this is not always the case, the site has generally been about synthpop ie pop music using synthesizers, as can be seen from this rather esteemed electronic roll of honour 😉

This is the history that the too cool for school media, who think everything jumped from KRAFTWERK to Detroit Techno in one fell swoop, don’t like to mention…

With a restriction of one track per artist moniker and presented in yearly and then alphabetical order featuring music from before the site came into being, here is why is it how it is…

JEAN-MICHEL JARRE Oxygène IV (1976)

For many including Jean-Michel Jarre, ‘Popcorn’ was their first experience of a synth hit and he released his own version under the moniker of THE POPCORN ORCHESTRA in 1972. But while working on his first proper full length electronic album in 1976, Jarre adapted a melodic phrase from the late Gershon Kingsley’s composition. That composition was ‘Oxygène IV’ and the rest is history.

Available on the JEAN-MICHEL JARRE album ‘Oxygène’ via Sony Music

https://jeanmicheljarre.com/

DAVID BOWIE Sound & Vision (1977)

Exploring a “whole new school of pretension” with his new creative muse Brian Eno, ‘Sound & Vision’ saw David Bowie capture a tense European aesthetic. Utilising an uplifting rhythm guitar hook and an ARP Solina string machine, the most distinctive feature of the half instrumental track was the pitch shifted percussion, produced by Tony Visconti feeding the snare drum though an Eventide Harmonizer.

Available on the DAVID BOWIE album ‘Low’ via EMI Music

https://www.davidbowie.com/

SPACE Magic Fly (1977)

SPACE was the brainchild of Didier Marouani who went under the pseudonym of Ecama and formed the collective in 1977 with Roland Romanelli and Jannick Top. The space disco of the iconic ‘Magic Fly’ heralded the start of a new European electronic sound within the mainstream. With its catchy melody and lush accessible futurism, ‘Magic Fly’ sold millions all over the world.

Available on the SPACE album ‘Magic Fly’ via Virgin France

https://marouani.space/

DONNA SUMMER I Feel Love (1977)

Working with Donna Summer on an album called ‘I Remember Yesterday’, producer Giorgio Moroder wanted to feature a track that represented “the sound of the future”. Employing the Moog Modular system with an 8-step analogue sequencer plus a triplet delay to create the pulsing synthesizer lines and metronomic beat, ‘I Feel Love’ changed the course of music.

Available on the DONNA SUMMER album ‘I Feel Love: The Collection’ via Spectrum

http://donnasummer.com/

KRAFTWERK The Model (1978)

Using a Micromoog for its iconic hook, ‘The Model’ was inspired by KRAFTWERK’s visits to night clubs in the more vibrant city of Cologne 30km down the road from Düsseldorf where their iconic Kling Klang studio was based. There, they would observe beautiful models drinking champagne and seek their company.

Available on the KRAFTWERK album ‘The Man Machine’ via EMI Music

http://www.kraftwerk.com/

SPARKS No1 Song In Heaven (1979)

In a creative rut following their UK success in the glam-era, the Mael Brothers had found ‘I Feel Love’ awe inspiring. A journalist friend put SPARKS into contact with Giorgio Moroder. The first result was the tremendous ‘No1 Song In Heaven’ where Russell Mael’s flamboyant falsetto fitted well with the programmed electro-disco sound, which meant Ron Mael could maintain his image of doing nothing.

Available on the SPARKS album ‘No1 In Heaven’ via Repertoire Records

http://allsparks.com/

TUBEWAY ARMY Are Friends Electric? (1979)

With Gary Numan using the group name of TUBEWAY ARMY at the behest of Beggars Banquet, the astoundingly long ‘Are Friends Electric?’ with its diabolus in musica structure became the entry point for many into electronic music. It was Synth Britannia’s ‘Starman’ moment when it was featured on ‘Top Of The Pops’ and ‘Old Grey Whistle Test’ during the same week, eventually reaching No1 in the UK.

Available on the TUBEWAY ARMY album ‘Replicas’ via Beggars Banquet

http://garynuman.com/

JOHN FOXX Underpass (1980)

Departing ULTRAVOX and now making music along with an ARP Odyssey, Elka Rhapsody and a Roland CR78 Compurhythm, John Foxx realised his own starker vision of electronic music. Enginnered by Gareth Jones, ‘Underpass’ channelled the dystopian writings of JG Ballard with Foxx adding that the English novelist was “addressing what I’d come to call ‘the unrecognised present’.”

Available on the JOHN FOXX album ‘Metamatic’ via Metamatic Records

http://metamatic.com/

THE HUMAN LEAGUE The Black Hit Of Space (1980)

A track that “weighed more than Saturn”, ‘The Black Hit Of Space’ sounded extraordinary when it opened the second album by THE HUMAN LEAGUE. The Sci-Fi lyrics about an infinite pop hit were strangely out there while harsh screeching frequencies from overdriving the mixing desk; “All that was a reaction to the cleanness of the previous album so we overcompensated.” said Martyn Ware…

Available on the THE HUMAN LEAGUE album ‘Travelogue’ via Virgin Records

http://www.thehumanleague.co.uk/

JAPAN Quiet Life (1980)

The resonant heart of ‘Quiet Life’ was a Roland System 700 driven by Richard Barbieri’s snappy eight step Oberheim Mini-sequencer. Complimented by Mick Karn’s distinctively fluid fretless bass, Rob Dean’s clean guitar lines and David Sylvian’s lyrical conclusion that the band were outsiders in the environment they were born into. Inadvertently, JAPAN had now invented DURAN DURAN!

Available on the JAPAN album ‘Quiet Life’ via Sony Music

http://www.nightporter.co.uk/

OMD Messages (1980)

Following the colder electronic pioneers like Gary Numan and John Foxx, OMD were the first of the warmer synthesizer bands. ‘Messages’ utilised a pulsing ‘Repeat’ function on a Korg Micro-Preset shaped by hand twisting the octave knob. Re-recorded from the original album version under the helm of producer Mike Howlett, he harnessed a template of basic primary chord structures and one fingered melodies.

Available on the OMD album ‘Souvenir: The Singles Collection 1979 – 2019’ via Virgin Records

http://www.omd.uk.com

ULTRAVOX Astradyne (1980)

Of ‘Astradyne’, Billy Currie said: “Midge started with that strong melody, Chris’ bass was also a very strong feature. I played a piano counter melody behind. The track was so strong that we felt at ease to lengthen it with a long textural piano bit that is sort of bell-like with the metronomic bass drum beats and the violin tremolo solo… Midge came up with that final section lift taking it out of the long ARP solo. I double it! It is very celebratory at the end…”

Available on the ULTRAVOX album ‘Vienna’ via Chrysalis/EMI Records

http://www.ultravox.org.uk/

VISAGE Fade To Grey (1980)

Conceived during soundchecks while they were playing on Gary Numan’s first concert tour, Chris Payne, Billy Currie and Ced Sharpley had recorded the track at Genetic Studios as a souvenir keepsake. Midge Ure later came up lyrics and a melody when the track was added to the debut VISAGE album. Capturing the cinematic pomp of the New Romantic movement, ‘Fade To Grey’ became a No1 in West Germany.

Available on the VISAGE album ‘Visage’ via Polydor Records

http://www.therealvisage.com/

DEPECHE MODE New Life (1981)

Written by Vince Clarke and produced by Daniel Miller, DEPECHE MODE fulfilled the Mute label founder’s vision of a teenage pop group with synthesizers that he had imagined and conceived for SILICON TEENS. Despite its danceable bubblegum appeal and catchy synthesizer hooks, ‘New Life’ also featured some intricate folk vocal harmonies which made it quite distinct from other synthpop at the time.

Available on the DEPECHE MODE album ‘Speak & Spell’ via Mute Records

http://www.depechemode.com/

SIMPLE MINDS Theme For Great Cities (1981)

The expansive instrumental ‘Theme for Great Cities’ was initially  a freebie having initially been part of ‘Sister Feelings Call’, a seven track EP given as a gift to early purchasers of SIMPLE MINDS’ breakthrough fourth album ‘Sons & Fascination’. Starting with some haunting vox humana before the rhythm section covered in dub echo drove what was possibly one of the greatest synth signatures ever!

Available on the SIMPLE MINDS album ‘Sons & Fascination / Sister Feelings Call’ via Virgin/EMI Records

http://www.simpleminds.com

SOFT CELL Tainted Love (1981)

SOFT CELL’s cover of ‘Tainted Love’was Synth Britannia’s first true crossover record, reaching No1 in UK and Germany while also breaking the US Top 10 a year later. Written by Ed Cobb, ‘Tainted Love’ was recorded by Gloria Jones and a favourite on the Northern Soul scene. Dave Ball knew the song and took it into haunting electronic torch territory, while Marc Almond added an honestly spirited vocal.

Available on the SOFT CELL album ‘Non-Stop Erotic Cabaret’ via Mercury Records

https://www.softcell.co.uk/

ASSOCIATES Party Fears Two (1982)

With its iconic honky tonk piano line and sophisticated arrangement, ‘Party Fears Two’ was a magnificent song about dealing with the perils of schizophrenia, made all the more resonant by Billy Mackenzie’s operatic prowess. It also kick started a brief period when ASSOCIATES subverted the UK charts with an avant pop approach that fitted in with the Synth Britannia template of the times.

Available on the ASSOCIATES album ‘The Very Best Of’ via Union Square

https://www.facebook.com/theassociatesofficial/

BLANCMANGE I’ve Seen The Word (1982)

Neil Arthur and Stephen Luscombe were unlikely pop stars, but an appearance on the ‘Some Bizzare Album’ led to a deal with London Records. Using a Korg MS20 synched to a Linn Drum Computer as its rhythmic backbone, the haunting melancholy of ‘I’ve Seen The Word’ fused the sombre lyricism of JOY DIVISION with the melodies and textures of OMD via a Roland Jupiter 8.

Available on the BLACMANGE album ‘Happy Families’ via Edsel Records

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

CHINA CRISIS Christian (1982)

Merseyside duo CHINA CRISIS are probably the most under rated band of their generation. The haunting ‘Christian’ was a song about the fate of soldiers in the trenches during World War One. Slow and melancholic, ‘Christian’ was as unlikely a hit single as ‘Ghosts’ by JAPAN was. But in an open-minded and diverse period in pop music than today, acts with a less obvious rock ‘n’ roll outlook were in with a chance.

Available on the CHINA CRISIS album ‘Difficult Shapes & Passive Rhythms, Some People Think It’s Fun To Entertain’ via Caroline International

https://www.facebook.com/chinacrisisofficial/

NEW ORDER Temptation (1982)

‘Temptation’ was NEW ORDER’s electronic breakthrough away from the haunting legacy of JOY DIVISION. The recording itself was marvellously flawed, with Stephen Morris’ overdriven Simmons snare panned too far to the right while tutting could also be heard. The pulsing hypnotism of the triggered ARP Quadra and the “oooh-oo-ooh” vocal refrain made ‘Temptation’ rather joyous and magical.

Available on the NEW ORDER album ‘Singles’ via WEA Records

http://www.neworder.com/

BRONSKI BEAT Smalltown Boy (1984)

When BRONSKI BEAT made their first ever TV appearance they were nothing short of startling, thanks to their look, their minimal synth sound and Somerville’s lonely earth shattering falsetto. Aiming to be more outspoken and political in their position as openly gay performers, the tale of ‘Smalltown Boy’ about a gay teenager leaving his family and fleeing his hometown made an important statement.

Available on the BRONSKI BEAT album ‘The Age Of Consent’ via London Records

http://www.bronskibeat.co.uk/

PET SHOP BOYS West End Girls (1985)

It was with the re-recorded Stephen Hague version of ‘West End Girls’ that PET SHOP BOYS hit No1 in both the UK and US in 1986. Its distinctive bass synth was achieved by Hague coercing a reluctant Chris Lowe into hand playing the riff. Meanwhile, the track fulfilled Neil Tennant’s concept of the duo sounding “like an English rap group” with a dour demeanour that was the antithesis of WHAM!

Available on the PET SHOP BOYS album ‘PopArt’ via EMI Music

https://www.petshopboys.co.uk/

CAMOUFLAGE The Great Commandment (1988)

In today’s world, DEPECHE MODE influenced acts are common place but in 1988, this was highly unusual. Taking ‘Some Great Reward’ as their template, CAMOUFLAGE developed on the industrial flavoured synthpop of ‘Master & Servant’ and ‘People Are People’ which the Basildon boys had all but abandoned from ‘Black Celebration’ onwards. Probably the best single DM never recorded.

Available on the CAMOUFLAGE album ‘The Singles’ via Polydor Records / Universal Music

http://www.camouflage-music.com/

ERASURE A Little Respect (1988)

Produced by Stephen Hague, ‘A Little Respect’ was perfection from the off with its lively combination of Vince Clarke’s pulsing programming and strummed acoustic guitar. As the busy rhythmical engine kicked in, Andy Bell went from a tenor to a piercing falsetto to provide the dynamic highs and lows that are always omnipresent in all great pop songs.

Available on the ERASURE album ‘Total Pop! – The First 40 Hits’ via Mute Records

http://www.erasureinfo.com/

DUBSTAR Not So Manic Now (1995)

DUBSTAR straddled Britpop with a twist of Synth Britannia. ‘Not So Manic Now’ was a song by Wakefield indie band BRICK SUPPLY, but the trio made it their own with the Northern lass earthiness of Sarah Blackwood providing the chilling commentary of an attack on a helpless pensioner. Stephen Hague’s wonderful production fused programmed electronics with guitars and cello in fine fashion.

Available on the DUBSTAR album ‘Disgraceful’ via Food Records

http://dubstarofficial.co/

GOLDFRAPP Lovely Head (2000)

The stratospheric GOLDFRAPP debut album ‘Felt Mountain’ had Ennio Morricone’s widescreen inflections but to accompany an ascent to the Matterhorn rather than a trek through a Sergio Leone Spaghetti Western. ‘Lovely Head’ was laced with deviant sexual tension. Will Gregory’s mad Korg MS20 treatments on Alison Goldfrapp’s operatic screaming produced some thrilling musical moments.

Available on the GOLDFRAPP album ‘Felt Mountain’ via Mute Records

https://www.goldfrapp.com/

MISS KITTIN & THE HACKER You & Us (2001)

Describing the relationship between artist and fan, this was a throbbing Moroder-inspired cacophony of electronic dance from Michel Amato with a dirty clanking Korg KR55 Rhythm used to great effect. Deliciously hypnotic, the swimmy ARP synths drowned any sorrows as the pulsing euphoria took a hold. Miss Kittin’s nonchalant Grenoble charm carried off what was a rather superb Electroclash anthem.

Available on the MISS KITTIN & THE HACKER album ‘The First Album’ via Nobodys Bizzness

http://www.misskittin.com/

LADYTRON Seventeen (2002)

LADYTRON became one of the first bands for many years to primarily use synthesizers as their tools of expression. Their debut ‘604’ explored yesterday’s tomorrow. With octave shifts galore to satirical lyrics about the X-Factor/Next Year’s Top Model generation, ‘Seventeen’ demonstrated the tactile nature of analogue synthesis that was key to a reversal in fortunes for electronic pop.

Available on the LADYTRON album ‘Light & Magic’ via Nettwerk

http://www.ladytron.com/

THE KNIFE Silent Shout (2006)

Those long winter nights in Sweden certainly had their effect on siblings Karin and Olof Dreijer. ‘Silent Shout’ was hypnotic understated rave with a quota of creepy Nordic eccentricity. The sharp appregiator and ambient percussion melted with Karin Dreijer’s heavily pitch-shifted low register vocals providing a menacing counterpoint to her younger brother’s vibrant electronic lattice.

Available on THE KNIFE album ‘Silent Shout’ via Brille Records

https://theknife.net/

MARSHEAUX Dream Of A Disco (2007)

Is a cover or is it Memorex? This interpolation of ‘Space Age Love Song’ by A FLOCK OF SEAGULLS provided MARSHEAUX with their most immediate number yet. Borrowing the uniformed look of CLIENT but applying a pure synthpop template, Marianthi Melitsi and Sophie Sarigiannidou became notable for their wispy sound.

Available on the MARSHEAUX album ‘Peek-A-Boo’ via Undo Records

https://www.marsheaux.com/

Text by Chi Ming Lai
13th March 2020

A Beginner’s Guide To BENGE

9 March 2020 /

Developing on a childhood fascination with electronic sound, after finishing art school, Ben Edwards set up a music studio in London and began acquiring discarded vintage synthesizers on sale for next to nothing to equip it.

Under his nickname of Benge, he released his debut album ‘Electro-Orgoustic Music’ in 1995 on his own Expanding Label. But in 2011, he became best known for his role as Chief Mathematician and collaborative partner in JOHN FOXX & THE MATHS.

By this time, what had now become Benge’s MemeTune Studios was housing one of the largest collections of working vintage synthesizers in the world and was the location for several interviews filmed for the BBC documentary ‘Synth Britannia’.

Amongst the equipment were modular systems from Moog, Serge, E-Mu, Formant and Buchla, the ARP 2500 and 2600, digital systems like the Synclavier and Fairlight CMI, drum machines including the Linn LM1, Roland TR808 and CR78 as well as classic polyphonic keyboards such as the Yamaha CS80, Polymoog, Oberheim 4-Voice, ARP Omni and the less celebrated EMS Polysynthi.

As a collaborator, John Foxx said Benge was “Really good – Intelligent, knowledgeable, technically blinding. He does remind me of Conny Plank. Same generosity and ability, same civilized manner – even looks similar.”

Benge left London and relocated MemeTune Studios to Cornwall in 2015, but with artists savouring this more remote setting near some of the most breathtaking coastal scenery in England, he is now busier than ever as his recent production portfolio has shown.

So by way of a Beginner’s Guide to Benge, here are eighteen examples of his work, subject to a limit of one track per artist moniker or combination, presented in yearly and then alphabetical order. As his own blog says “It’s full of stars”!

TENNIS Weakness Together (2001)

Benge’s instrumental duo with Douglas Benford, TENNIS released their second album ‘Europe On Horseback’ just as dub electronica seemed to be all the rage. Scratchy and weirdly hypnotic with hidden hooks at over eight and a half minutes, the metallic percussive notions of ‘Weakness Together’ with its metronomic rhythms and solemn Cold War synths came together for a great highlight.

Available on the TENNIS album ‘Europe On Horseback’ via BiP_Hop Records

https://instagram.com/memetunestudio

BENGE 1969 EMS VCS3 (2008)

Noted for his experimental solo albums, Benge’s most acclaimed was 2008’s ‘Twenty Systems’. Brian Eno described it as “A brilliant contribution to the archaeology of electronic music”. An insightful soundtrack exploring how electronic sound architecture evolved from using transistors to integrated circuits and from ladder filters to Fourier approximation, it was via this album that Benge came to the attention of John Foxx.

Available on the BENGE album ‘Twenty Systems’ via Expanding Records

https://twitter.com/zackdagoba

SERAFINA STEER How To Haunt A House Party (2010)

Legend has it that Serafina Steer’s union with Benge occurred when her harp was stolen and he made synths available to fill in for the intended harp parts. One of the more electronic tracks ‘How To Haunt A House Party’ added drum machine and the spacey accompaniment complimented the songstress’ quirky brand of kitchen sink introspection. introspection. ‘Change is Good, Change is Good’ got an endorsement from Jarvis Cocker.

Available on the SERAFINA STEER album ‘Change Is Good, Change Is Good’ via Static Caravan

http://www.serafinasteer.com/

JOHN FOXX & THE MATHS Watching A Building On Fire (2011)

Joining forces with Benge, John Foxx found the perfect creative foil to further his earlier analogue ambitions combined with a warmth that had not been apparent previously. The best track on their debut album ‘Interplay’ was a co-written duet with Mira Aroyo of LADYTRON entitled ‘Watching A Building On Fire’. With its chattering drum machine and accessible Trans-European melodies, it was a spiritual successor to ‘Burning Car’.

Available on the JOHN FOXX & THE MATHS album ‘Interplay’ via Metamatic Records

http://www.metamatic.com/

OMD Dresden – JOHN FOXX & THE MATHS remix (2013)

The first band that the young Ben Edwards ever saw live was OMD, thanks to them opening for Gary Numan in 1979. He presented a suitably harsh remix to suit the harrowing lyrical tone of ‘Dresden’. But Andy McCluskey of OMD said: “‘Dresden’ is a whopping great, unsubtle metaphor… it’s not about the bombing of Dresden in the same way as ‘Enola Gay’ was about the aeroplane that dropped the atom bomb.”

Available on the OMD single ‘Dresden’ via BMG

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

GAZELLE TWIN Exorcise (2014)

The moniker of Elizabeth Bernholz, the second GAZELLE TWIN album ‘Unflesh’ had additional production and mixing by Benge. One of the highlights ‘Exorcise’ was an impressively aggressive cross between PINK FLOYD’s ‘One The Run’ and KRAFTWERK’s ‘Home Computer’ with its uneasy resonance allowing the Brighton-based songstress to extract her demons with some artistic violence.

Available on the GAZELLE TWIN album ‘Unflesh’ via Anti-Ghost Moon Ray

https://www.gazelletwin.com/

HANNAH PEEL & BENGE Find Peace (2014)

Hannah Peel later took over the studio space when Benge relocated. At the time her most overtly electronic song yet, she teamed up with Benge for a haunting modern day seasonal hymn. With a suitably poignant message, ‘Find Peace’ was a Christmas song longing for the cold but merry winters of yesteryear under the modern day spectre of global warming, armed conflict and political tension.

Available on the HANNAH PEEL single ‘Find Peace’ via My Own Pleasure

http://www.hannahpeel.com/

WRANGLER Lava Land (2014)

A trio featuring Benge, Stephen Mallinder ex-CABARET VOLTAIRE and of TUNNG’s Phill Winter, the WRANGLER manifesto was to harness “lost technology to make new themes for the modern world”. ‘Lava Land’ saw Mallinder’s voice manipulations ranging from demonic gargoyle to stern drowning robot. The twisted mood was distinctly unsettling and dystopian, especially when the screeching steam powered Logan string machine kicked in.

Available on the WRANGLER album ‘LA Spark’ via by Memetune Recordings

https://www.facebook.com/mallinderbengewinter/

GHOST HARMONIC Codex (2015)

GHOST HARMONIC was a project comprising of John Foxx and Benge alongside Japanese violinist Diana Yukawa. ‘Codex’ evolved over the space of a couple of years.  The result was a startling dynamic between Yukawa’s heavily treated violin and the looming electronics within a modern recording environment. Closing the album, the title track was a string and synth opus of soothing bliss.

Available on the GHOST HARMONIC ‘Codex’ via Metamatic Records

https://www.facebook.com/johnfoxxmetamatic/

JOHN FOXX & THE MATHS featuring GARY NUMAN Talk (2016)

‘Talk’ has been used by John Foxx to explore different approaches from a singular idea with other kindred spirits such as Tara Busch and Matthew Dear. ‘Talk (Are You Listening To Me?)’ finally saw Gary Numan working on a track with his long-time hero who he had admired since the ULTRAVOX! His take naturally screamed alienation, thanks to Benge’s use of a Polymoog and his effective application of its swooping ribbon controller.

Available on the JOHN FOXX album ’21st Century: A Man, A Woman & A City’ via Metamatic Records

http://garynuman.com/

FADER 3D Carpets (2017)

While BLANCMANGE’s ‘Unfurnished Rooms’ was the first time Benge and Neil Arthur worked together, their FADER duo project saw the former instigating the music as opposed to working on already written songs. Working on their parts separately with Benge coming up with the embryonic musical idea, ‘3D Carpets’ captured an independent post-punk intensity, like JOY DIVISION or THE CURE but realised with analogue electronics rather than guitars.

Available on the ‘First Light’ via Blanc Check Records

https://www.facebook.com/WeAreFader/

I SPEAK MACHINE Shame (2017)

“Benge and I had always wanted to write together” said Tara Busch of how he became involved in the soundtrack of I SPEAK MACHINE’s short film about greed and self-obsession in Thatcher’s Britain as a businessman drives home, oblivious to a zombie apocalypse going on around him. The brilliant ‘Shame’ was a wonderful hybrid of THROBBING GRISTLE, THE HUMAN LEAGUE and GOLDFRAPP.

Available on the album ‘Zombies 1985’ via Lex Records

https://www.ispeakmachine.com/

LONE TAXIDERMIST Home (2017)

LONE TAXIDERMIST is the vehicle of Cumbrian lass Natalie Sharp, a performance artist who believes “Your body is a sensory device”. With Phill Winter of TUNNG and WRANGLER among the collaborators, Benge acted as co-producer and released the album himself. Her debut album’s opening song ‘Home’ made her avant pop intentions clear with a catchy throbbing outline and a wonderfully wayward vocal style crossing Grace Jones with Ari Up.

Available on the LONE TAXIDERMIST album ‘Trifle’ via MemeTune Recordings

https://www.facebook.com/lonetaxidermist/

BLANCMANGE In Your Room (2018)

Working with Benge again on what was effectively their third album together, Neil Arthur has undoubtedly found comfort in their partnership. ‘Wanderlust’ was possibly BLANCMANGE’s best body of work in its 21st Century incarnation and from it, ‘In Your Room’ was a great slice of vintage robopop, with a vocoder aesthetic and an assortment of manipulated sounds at a reasonably uptempo pace. “Lyrically it was about being content with something quite simple” added Arthur.

Available on the BLANCMANGE album ‘Wanderlust’ via Blanc Check Records

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

CREEP SHOW Safe & Sound (2018)

With John Grant joining forces with Stephen Mallinder, Benge and Phill Winter at MemeTune Studios, CREEP SHOW was something of an electronic meeting of minds. On the resultant album ‘Safe & Sound’, the quartet explored a spacious KRAFTWERK vs Moroder hybrid using dark analogue electronics, gradually revealing some wonderfully warm melodic synth textures to accompany Grant’s passionate lead croon.

Available on the CREEP SHOW album ‘Mr Dynamite’ via Bella Union

https://www.facebook.com/creepshowmusic/

JOHN GRANT He’s Got His Mother’s Hips (2018)

Following the CREEP SHOW collaboration, it was only natural that Benge would step up to produce John Grant’s fourth solo album ‘Love Is Magic’ to more allow the Icelandic-domiciled American to fully embrace his love of electronic music. Making use of a vintage synth brass line, the mutant crooner disco of ‘He’s Got His Mother’s Hips’ was driven by a delicious synthetic groove while not forgetting to include an uplifting chorus.

Available on the JOHN GRANT album ‘Love Is Magic’ via Bella Union

https://johngrantmusic.com/

LUMP Hand Hold Hero (2018)

Inspired by the emptiness of contemporary life, when British nu-folk queen Laura Marling teamed up with Mike Lindsay of TUNNG and Benge’s one-time partner-in-crime, it called for something out-of-the-box and came courtesy of Benge’s Moog Modulars. A hypnotic sequencer line provided the backbone to ‘Hand Hold Hero’ for an unusual slice of Sci-Fi Country ‘N’ Western that met ‘On the Run’ somewhere on the Virginia plains.

Available on the LUMP album ‘Lump’ via Dead Oceans

https://www.facebook.com/thisisLUMP/

OBLONG Echolocation (2019)

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

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

https://twitter.com/oblongtheband

Text by Chi Ming Lai
9th March 2020

A Short Conversation with ANI GLASS

7 March 2020 /

‘Mirores’ is the excellent debut long player by Welsh synth songstress ANI GLASS and conceived around the idea of movement and progress around her hometown of Cardiff.

With enticing synthpop songs sitting together with more conceptual found sound adventures, it is one woman’s artistic vision celebrating her heritage and home, empowered by the freedom and democracy opened up via electronic music. ANI GLASS released her first EP ‘Ffrwydrad Tawel’ in 2017 having served an apprenticeship under mentors such as OMD’s Andy McCluskey and the late Martin Rushent. She kindly chatted about realising her artistic vision and remaining true to her culture.

Your debut album ‘Mirores’ has been several years in the making, how did you keep focussed and motivated?

It’s been a real labour of love and I’ve really enjoyed the whole process. That’s not to say that it’s been a never-ending journey of joyful motivation; there have been heavy periods of down-time whilst I focussed on other things such as my Masters and PhD, but even during those times I was busy collecting ideas and building a narrative. I’ve always wanted to have created and crafted a strong body of work and so that was all the motivation I needed to make sure that I finished, no matter how long it took.

What were the main differences in approach for you with the album compared with your debut EP ‘Ffrwydrad Tawel’?

The main difference I would say is that my ideas, musicianship and skills have developed since writing and recording the EP and so my approach to making the album was more considered. Essentially, I would just say that I was far more confident in my ability this time around.

You opted to self-produce the album, what were the pros and cons you uncovered along the way?

The only con I can think of was that it probably took far longer than it may have had someone else produced it, but the list of pros is pretty endless to be honest. I learnt the skill of production, I learnt how to fully realise my ideas from start to finish, I felt more ownership over my music and could work at my own pace and it encouraged me to listen to music in a different and more observant way. It also made me realise the amount of work involved and I now fully understand why Martin Rushent took over a year to finish the second PIPETTES album!

What hardware or software synths were you using, have you been tempted by any of those affordable Behringer clones?

I tend to stick to hardware synths, the ones I used on the album include a Juno 106, Waldorf Blofeld, Fender Rhodes and a Korg Minilogue. There maybe one or two software synths but mainly incidental or background stuff and absolutely no Behringer clones!

The album is an observational electronic travelogue with pop songs and conceptual interludes, that appears to be reminiscent of OMD’s ‘Dazzle Ships’ or ‘English Electric’? What were you main pointers influence-wise?

My main sonic influences were Vangelis, Martin Rushent, Giorgio Moroder, Jean-Michel Jarre and Arthur Russell. I do love OMD so I’m quite happy if anything I make resembles their work! The album is a journey – based around a day in the life of a Cardiff girl – and journeys tend to vary in pace, mood and tone and so I made an album that I felt would represent this.

The ‘Mirores’ title song has a very liberating quality about it, what was its genesis?

It was one of the last songs from the album that I wrote, and I certainly began to feel liberated knowing that I had nearly finished it! I wanted the song to capture how moments of doubt and despair can evolve into ones of clarity and realisation.

You play with Euro-disco on ‘Ynys Araul’, do you ultimately still have a pop heart within the messages you are looking to convey?

To me, I find pop music to be the most versatile when it comes to freedom of narrative. I’ve never felt restricted by its more traditional format, this structure allows me to experiment with lyrical themes and ideas. I’m generally quite conceptual and often a little vague when it comes to lyrics which then allows me to discuss almost anything. OMD’s ‘Enola Gay’ is a classic example of how a well-crafted song can be both pop and poignant.

You use sample of Welsh newsreader Huw Edwards within the voice collage on ‘Peirianwaith Perffaith’?

This recording is taken from a news report during the 1997 Welsh devolution referendum results. This momentous event in the social, cultural and political calendar of Wales has played a huge part in the development of Cardiff as a European capital city. What was once the largest exporter of coal in the world, the place where the first million-pound cheque was signed felt like a pretty grey and dreary place during the 80s and 90s.

Despite this, there were a lot of exciting things happening in various pockets around the city and most of all, the people were kind and generous. The city is unrecognisable today, in part due to the devolution process which has weaved its way into the minds and mechanics of Welsh life, and although we have all the problems of other cities – it’s home.

There’s a gospel flavoured interlude called ‘I.B.T’ which appears to sound familiar?

The recording is of my Mum’s choir CÔR COCHION CAERDYDD (Cardiff Reds), who are a socialist street choir. They sing every Saturday in Cardiff city centre to raise money for great causes and have done for the best part of 40 years. The song itself ‘Freedom Is Coming’ is a South African protest song, but this version is called ‘I.B.T’ which reads in Welsh ‘I Beaty’ (To Beaty). Beaty was a choir member and a wonderful woman and friend, and I recorded the choir singing this song at her funeral.

What was the idea behind including both English and Welsh in ‘Agnes’?

The words spoken at the beginning are taken from an interview done with the artist Agnes Martin as part of a documentary and the Welsh passages that follow depict my feelings about her work (basically, I love her). Her work stops you from thinking or worrying about things, it’s very calming and hugely inspiring – most certainly one of my greatest inspirations.

Do you have any personal favourite tracks on the album, or is it one thread of work for you?

I don’t think I do – they each have specific meanings that are equally important to me. They are reflective of different places, feelings and experiences and I suppose I value them all.

I most certainly have songs which fall into the more traditional ‘pop’ category (and I really love pop), but I don’t think I would say that I like them more.

You’re going to be touring the ‘Mirores’ album first in Wales, what have you got planned as far as its presentation is concerned and will you be taking it further afield?

I’ve recently picked up the bass again – I hadn’t played it since I was a member of GENIE QUEEN a long time ago – so that will make an appearance. Andy McCluskey bought this bass for me (as he managed the band at the time) and so the whole process of learning to play it again has been quite an emotional experience… probably realising that I’m not 19 anymore! I will most certainly be travelling across the border and further afield later in the year so I’m very much looking forward to that.

ELECTRICITYCLUB.CO.UK gives its grateful thanks to ANI GLASS

Special thanks to Bill Cummings at Sound & Vision PR

‘Mirores’ is released as a CD and download by Recordiau Neb, available direct from http://www.recordiauneb.com/siop

https://www.facebook.com/aniglasscymru/

https://twitter.com/Ani_Glass

https://www.instagram.com/ani_glass/

https://soundcloud.com/aniglass

https://aniglass.bandcamp.com/

Text and Interview by Chi Ming Lai
7th March 2020

On Tour with SOFTWAVE

5 March 2020 /

As highly respected veterans with a career of over four decades and still able to fill concert theatres around the world, OMD have used their position and earned a fine reputation for providing opportunities to fledging electronic pop acts to shine in front of a sympathetic audience.

The latest beneficiary has been the Danish synthpop couple SOFTWAVE who were accorded the honour of opening for OMD in Oslo, Stockholm, Malmo and Copenhagen during the Scandinavian leg of their 2020 ‘Souvenir’ greatest hits tour.

A keen OMD fan from Germany, Anja Minnemann went to all four of these gigs and observed: “It was amazing to watch SOFTWAVE’s performances. They gave a very strong performance every time I saw them and they grew in confidence so much from the first gig too the last gig! When they performed in their own country Denmark, you would have thought they were the main event!”

Unlike Sweden and Norway, Denmark has not been known for a tradition in electronic pop, but maybe there was never been a group worthy enough in the past to lead and inspire? SOFTWAVE’s album ‘Game On’ featuring songs included in the live set like ‘Galaxy Of Stars’ and ‘Something Is Missing’ has been one of the best debuts to have emerged from the Nordic region in the last few years.

Without doubt, the pair have certainly been the most promising synthpop act from Denmark since TIGER BABY whose last album ‘Open Windows Open Hills’ came out in 2011. “The Scandinavian people are always a bit cool but Catrine and Jerry warmed them up massively” said Anja, “Her voice was clear and she had so much power in it. It seems she can’t stand still, the rhythm was her cardio. Jerry was the quiet guy behind her, dressed up in a PacMan suit ?”

“They captivated the crowd and got them involved with chanting ‘OMD’” she added, “both the band and crowd were interacting with each other, which was an amazing feeling for both. One of the things I’ll always remember is, when the stage was dark and Catrine come onto it opening her arms and her ‘wings’ had lights on and she glowed in the dark, she looked like a massive butterfly. The reaction from the crowd was awesome! Songs like ‘No Need To Hide’ stay in your mind for a very long time”.

Enthusiastic UK-based Dutch OMD fan Marilyn Wilson remembered: “I first heard about SOFTWAVE in 2018 when Chi from ELECTRICITYCLUB.CO.UK told me that both Catrine and I were going to be on the same 80s Throwback Floating Festival cruise and that we should meet each other. The ship was rather big and we were never in the same location, so that never happened unfortunately. I did follow Softwave on Facebook after I came back home from the cruise and really liked what I heard.”

ELECTRICITYCLUB.CO.UK have often remarked how SOFTWAVE sound like Celine Dion fronting ERASURE and certainly the latter’s instrumental palette is a similarity that many have referenced.

“The sounds and melodies that Jerry uses remind me a bit of Vince Clarke’s work, and Vince is one of my musical heroes” Marilyn said, “Catrine’s voice is beautiful and powerful and compliments the synths wonderfully! I was so excited when I heard that SOFTWAVE were going to support OMD in Scandinavia, and their four performances certainly didn’t disappoint!”

With Catrine as SOFTWAVE’s vivacious front woman, she garnered the majority of the attention but she worked hard on her performance to maintain it, as the measure for support acts is not how many people are watching at the start of the set, but how many still remain at the end.

“Catrine is a natural on stage and presented all songs with lots of flair and humour” added Marilyn, “She was energetic, confident, interacted a lot with the crowd and managed to get lots of people, who had never heard the music before, to dance throughout the performance! That’s why it didn’t surprise me much when people queued up to meet the band after the gig. Both Catrine and Jerry also happen to be the loveliest friendliest people you could ever meet! My favourite song on the setlist was ‘Something Is Missing’. It’s so catchy I had in my head for days after the gigs.”

Seeing SOFTWAVE perform in Oslo and Stockholm, American music journalist and future music enthusiast Mary L Chang could not help but be impressed. “It’s a tall order, opening for an established band like OMD who have very devoted fans. From the very first song, the aplomb of Catrine Christensen set the stage for a spellbinding and energetic set. Whether in their Pac-Man-themed jackets or in Christensen’s case, lit up with a blue LED cape, SOFTWAVE gave an engaging, unforgettable performance.”

After the misstep of choosing the admittedly low maintenance LOVERS ELECTRIC to support on their comeback tour in 2007, OMD played it safe with the dependable CHINA CRISIS in 2008. However, they then took a greater interest in their special guests and a run of excellent up-and-coming synth acts have since been chosen for the coveted opening slot. Among those acts touring with OMD since 2010 have been VILLA NAH, MIRRORS, VILE ELECTRODES, METROLAND and TINY MAGNETIC PETS.

In a strange coincidence of synchronicity, all five of these acts had been featured on ELECTRICITYCLUB.CO.UK previously and now SOFTWAVE were eagerly following in their footsteps as the sixth.

Catrine Christensen and Jerry Olsen spoke to ELECTRICITYCLUB.CO.UK about their tour with OMD and what the future holds for SOFTWAVE following their successful four date Scandinavian run…

How did you receive the news that you would be opening for OMD?

Catrine: By e-mail. It was an ordinary day. I checked my inbox and there it was! We thought they would never answer – an email was received from OMD’s manager saying: “The band has agreed”.

Later we were told by Andy McCluskey himself in Oslo that we were personally chosen by OMD. It was a great start to begin the tour – we felt SO happy, they were really kind to us during the whole tour. We actually felt like we came closer for each place we played with them. And now I miss them and the touring life. I want more ?

So how was preparing for a four date touring different from a one-off show for you?

Catrine: OMG! Haha! As this was our biggest opportunity ever, I had to prepare more than I’m used to.

To our biggest surprise, preparing our show wasn’t the toughest. It’s no secret that I’m a perfectionist when it comes to planning things.

Every single detail was double checked several times, for example planning transport, flight, train, cruise, hotels and not to forget all the new contacts we had become from each venue promoters, production managers, bookers etc.

Jerry: It was all so big and new to us. So of course, we were both very frustrated in the beginning, because we knew this was big and it meant so much to us that we wouldn’t fail. We wanted to make a great impression on OMD and the audience to show them that this tour wasn’t just another show to us – but the biggest four shows we have ever done…

Catrine: …and maybe the door to future success – a dream would finally come true. We couldn’t be more happy – and GOD I so much wish for more of this to happen! Even though preparing was tough! But I believe everything new is difficult. We could easily do it again as we now know how it all works.

Were there any interesting dilemmas with choosing songs to perform for a 30 minute slot?

Catrine: Yes, sure. 30 minutes isn’t a whole album, so we had to remove some songs. What we didn’t expect was that we had to add an old song because Vega, the venue in Copenhagen decided to promote us by using the ‘On & On & On’ music video. So we chose to add that one too, replacing ‘Human Beings’.

How were rehearsals going, did you have a particular process? Voice exercises, run throughs etc??

Jerry: We did rehearsals one month before the first show and each day during the tour, even during the cruise to Oslo and at hotels.

Catrine: I did voice exercises each day for one month up to the first show, but that’s not more than I’m used to before a show.

I tried to keep my throat warm and healthy, it’s like going in a fitness centre, not before one month of training you can feel a difference. I drank tea each day up to and during the tour. I was very afraid of getting sick and not being able to sing. But I didn’t ?

You finally had a CD of ‘Game On’ available for sale…

Catrine: Yeah. We were not supposed to. But after receiving a lot of requests, we decided to produce some. Luckily we received support from DPA and KODA’s Cultural Funds, or else we couldn’t afford it. One month before the tour, we decided to release the CD together with the announcement of the 100 new copies of the ‘Game On’ vinyl, a “tour edition” in lime colour. Surprisingly we received many CD pre-orders, and I had to arrange all these to be shipped safely to the fans, all signed during the preparations for the tour. WOW! That was stressful. But after that, we could finally concentrate on the tour.

Jerry: The CDs sold well and 50% of them are gone already. So we’re very glad about our decision. But the vinyl sale went even better!

Your choice of stage clothes made a strong visual impact?

Catrine: Yes, it did. Every single detail was carefully chosen. The most popular visual impact was definitely the blue LED-wings I was wearing during ‘Guardian Angel’. Visuals and stage clothes are almost as important as the music when performing live. We want the audience to experience the music in another way than when listening at home.

As we don’t go on compromise on the quality of the music production, we feel the same live. To show that, we had to “show” it in a visual way.

Jerry: We both wore the PacMan suits as it’s related to the ‘Game On’ album. It’s not a permanent look though.

Catrine: Regarding the shows we did during the tour with OMD, it was my idea to spice up the show with a star, LED wings and my clothes which I changed a little at each show, but it still had the same main look. During all our shows, I was always wearing my wave-earring and wave-makeup. As something new, I added a Greek goddess hair-bracelet which I bought together with my Greek family in Athens. After the tour I found out that many people noticed these small details – so that made me very happy. It was all worth it ?

OMD souvenir tour – Behind the scenes

ATTENTION!Watch this video to have a closer look behind-the-scenes and to see how much we enjoyed touring with Orchestral Manoeuvres in the Dark.Interview by ELECTRICITYCLUB.CO.UK "On Tour With SOFTWAVE":https://www.electricityclub.co.uk/on-tour-with-softwave/We are so pleased to have so many lovely people around us to support us during the whole tour experience ❤ THANK YOU ❤Playlist by OMD: https://open.spotify.com/playlist/3Pkycy3mykGmoiT3EVSpvy?si=vVCDmE6yRWmmkyzrNy01SwWatch FULL live show (VEGA): https://youtu.be/sg8FJ37vaSc

Posted by SoftWave on Wednesday, February 26, 2020

How was the first night in Oslo?

Catrine: As you say “the first night”. We didn’t know what to expect and what people would think of our show. Therefore we were both very excited and nervous at the same time. A strange but also an incredibly good feeling. (Watch behind-the-scenes video ?

We weren’t sure how much we could ask or if we were allowed to meet the band and talk with them backstage. So we kind of just followed the flow and suddenly we met Andy McCluskey and had a short chat.

Afterwards we said hi to Paul Humphreys and the other band members. We also had the pleasure of seeing their soundcheck along with the VIPs. They looked very curiously at us, as we were just standing there among the hardcore OMD fans, I had this feeling that they wasn’t used to that.

Jerry: After the show, something surprising happened, first of all we sold a lot of merchandise and many came to us to give us feedback. Some gave us high-five and one man told us that what we did was amazing. He said he had never seen an OMD support band like that before. He also added that Norwegians are normally very shy in nature, but we made them clap, jump, shout and smile ?

Even a video from an audience was uploaded to YouTube afterwards – and that’s a good sign…

You actually had some German and Dutch OMD fans there to cheer for you?

Catrine: Yes we had, Anja and Marilyn. They were amazingly supportive during the whole tour. We really needed them, so their presence meant a lot to us. At least one person to cheer you up is precious – but we were lucky to have at least two during all four places <3

The tour wouldn’t have been the same without them. But we must say that they maybe would not have known about us if it wasn’t because of our huge fan Shaun who couldn’t be there and told Anja to keep an eye on us.

What was the overall reaction in Oslo?

Jerry: It was impressive. They were all very supportive and cheered us up. We had so much great feedback. If this wasn’t the case, I’m afraid it would maybe have made me nervous for the other shows.

Catrine: We were told by Andy that they would come and see our show. So we were very excited to hear their feedback afterwards.

Then onto Stockholm, did the audience here differ?

Catrine: There were unbelievably so many photos taken here, it sure was the most beautiful venue we have ever played at. We would love to go there again. Even the backstage area and service was amazing. Sadly there wasn’t much videos posted by the audience. But we were lucky to find one:

Softwave – Something is Missing. ??

Posted by Tom Svendsen on Sunday, February 9, 2020

How was your relationship developing with the road crew?

Jerry: Step by step. We ended up having a very good time together, it felt like a small family. We really miss them.

Did you get to chat much to Andy McCluskey and Paul Humphreys during the tour?

Catrine: Yes. But it wasn’t easy. We were afraid it would never happen. So we stayed humble and didn’t want to demand them to have a chat with us, so we shared our wish with their manager and made it up to them to decide when and if they wanted to chat with us.

That was a good decision as we experienced they opened up more after each show. During the last show in Copenhagen, they came to us many times for a chat and we even had photos with them backstage. We also gave them and the rest of the band a copy of the lime vinyl including a personal message and signed of course ?

They seemed very happy about the gift and they also gave us great feedback on our performance, actually many times. They also said they were honoured to have us with them on tour – and we didn’t know what to say because we were the ones to be honoured to be chosen.

Right before we went to the stage in Vega, Andy told me that he was amazed by my way of performing. He said something like this: “…without looking nervous at all you just went on stage like a queen saying here I am…”. That really was a huge compliment. I hope to chat more with them, we had such a great time and even better, the same sort of humour.

Jerry: I had a nice producer-conversation with Paul before we entered the stage in Copenhagen.

We mentioned that we’re working on a cover version of ‘Souvenir’ which caught his attention right away. He asked me to send him a demo to his private email.

Malmö was heading towards home, were you getting into your stride by now?

Jerry: Yeah… we were definitely getting the hang of the touring life. It was a different place but everything remained the same. Every place, the schedule is exactly the same. That was actually a good thing because it made us relax more.

But you were most nervous for the Copenhagen show?

Jerry: Yes. Danes are not easily satisfied. They are often critical about new bands like us and can be very judging. But surprisingly, we were completely wrong about that.

Catrine: We had a huge queue at the merchandise stand. We were three people to help sell our stuff and it was lovely to have a good friend helping us out during the day. Copenhagen was a great success and a perfect end to the tour!

Over the four shows, which songs appeared to be getting the best reaction?

Jerry: Hard to say. Ask OMD’s fans ?

But if I should mention one song – it must be ‘No Need To Hide’ as it was the last one on the setlist and worked as the perfect transition for OMD to take over the stage after us.

How were merch sales and the online reaction with regards social media and post-show steams?

Catrine: Just amazing. We couldn’t have asked for more. We sold way more than expected. Our lovely followers on social media kindly shared our posts and even OMD fans commented and uploaded pictures and videos. It was a great help to me, as I’m responsible for the promotional part. Only at Vega, we had our own film-production crew to film our show and a photographer. So we especially want to thank all people who took pictures and filmed our show in Oslo, Stockholm and Malmo and would like everyone to send us their files to contact@softwavemusic.com

What advice would you give to artists to be able to get into the position you managed to find yourself in?

Catrine: Be prepared, be yourself, produce great music and show you are proud of it. Don’t be afraid to move forward – just believe you will succeed and you will.

What are SOFTWAVE’s future plans, hopes and fears?

Jerry: We want to tour more for sure! It’s very sad that the tour with OMD is over already, and we fear a tour like this will never happen to us again. We feel very lucky and honoured to have experienced this. It feels like we have reached the top. So of course it’s always frustrating to think of the future after having such a great time in “tour-heaven”.

Catrine: It’s like having an “after-tour-effect”, some artists feel depressed. I have been told it’s normal, but I don’t feel that yet. I’m still very happy, but I have thought “So what will happen now?”... I believe the worst thing is to have to wait and stay patient.

As we didn’t know what would happen after this tour, we are still available for bookings during the whole summer. We hope to play in Germany and bigger venues and festivals in Denmark. But we’re not in a hurry as we’re planning a new album and another exciting side-project ?

But there will be a full professional live show recording of the Copenhagen Vega show online soon.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to SOFTWAVE

Special thanks to Anja Minnemann, Marilyn Wilson and Mary L Chang

‘Game On’ is released as a download album, available direct from https://softwave.bandcamp.com/album/game-on

For SOFTWAVE enquiries and bookings, please contact Stig Wintendorff of Town & Towers Group Music Management at booking@townandtowers.dk – http://townandtowers.dk/

http://www.softwavemusic.com/

https://www.facebook.com/SoftWaveMusic/

https://twitter.com/SoftWaveMusic

https://www.instagram.com/softwave_music/

https://softwave.bandcamp.com/

Text and Interview by Chi Ming Lai
Photos by Dag Stinus
5th March 2020

ANI GLASS Mirores

26 February 2020 /


Following her acclaimed first EP ‘Ffrwydrad Tawel’ in 2017, ANI GLASS releases her long-awaited debut album ‘Mirores’.

It is an observational electronic travelogue based around the idea of movement and progress in her hometown of Cardiff. That might sound overly conceptual but this is a melodic pop record that also gathers ambience of the urban landscape, traffic, people and nature, all coming together to create the score of a city’s symphony.

Fluent in Welsh and Cornish, ANI GLASS uses a play on words for the album’s title which incorporates the name of one of her favourite artists Joan Miró – along with the Cornish word ‘miras’ which means “to look”. Therefore, ‘Mirores’ essentially translates as “Observer”.

An experienced hand who has previously worked with OMD’s Andy McCluskey and the late Martin Rushent, ANI GLASS opted to self-produce ‘Mirores’; she said to ELECTRICITYCLUB.CO.UK: “I’m really excited about curating the presentation of this album; conceptually and visually. I have a lot of ideas about how I might involve and engage with people who may not be instinctively interested in Welsh electronic music.”

Beginning with ‘The Ballet Of A Good City’ and a folk choir, the subtle arpeggios paint an ambient air which recalls Vangelis, one of the album’s main sonic influences that also includes Martin Rushent, Giorgio Moroder, Jean-Michel Jarre and Arthur Russell.

With the dulcet tones of Welsh newsreader Huw Edwards within the voice collage, an eerie uplifting quality permeates on ‘Peirianwaith Perffaith’; translated as ‘Perfect Machinery’ and with the vibe of Autumnal discontent, the haunting detuned backdrop is perfect for her socially conscious Welsh expressionism and a celebration of devolution. With a wonderfully swirling leadline reminiscent of THE FALLOUT CLUB’s ‘Dream Soldiers’ and a suitably penetrating bass pulse, it is a search for identity in a moving city that is starkly industrial.

With a lovely higher vocal register, the Euro-disco of ‘Ynys Araul’ is rich in traditional melody, offering a pop sensibility and a wonderful triplet bassline. More mature and earnest in tone, ‘Y Cerrynt’ is unusual in having an almost minimal bass presence which gives it a unique quality. But ‘Cariad’ is a solemn set-piece, with sparse contemplative backing like one of OMD’s experiments in vertical take-off.

Following a short taped gospelly interlude ‘IBT’, the ‘Mirores’ title song itself is pure Cmyru synthpop brilliance with wonderful harmonies and a fabulously liberating vocal middle eight. It depicts the journey from dark desperation to motivation and inspiration, so despite the inherent melancholy, the newly married songstress gets to radiate an inspired mood of optimism..

Playing off a claustrophobic soundscape and a bouncy off-beat in the vein of GRIMES, some fabulous icy strings make their presence felt on ‘Goleuo’r Sêr’. Singing in English over a staccato bassline and bell-like rings, ‘Cathedral In The Desert’ is an affectionate reminder musically of what EURYTHMICS once sounded like before they went all rock ‘n’ roll. Continuing in English but in a spoken word fashion, ‘Agnes’ swiftly returns to Welsh with its deeper resonances rich within the sparse synthscape as a touching tribute to artist Agnes Martin .

Closing with ‘The Rising Of The Moon’, a collage of male speech and ANI GLASS’ own layered voices counterpoint as night time covers the city.

Taking a leaf out of her mentor Andy McCluskey and OMD albums such as ‘Dazzle Ships’ and ‘English Electric’, ‘Mirores’ has enticing synthpop songs sitting together with more conceptual found sound adventures.

It is one woman’s artistic vision celebrating her heritage and home, empowered by the freedom and democracy opened up via electronic music.

‘Mirores’ is released on 6th March 2020 by Recordiau Neb, available direct from http://www.recordiauneb.com/siop

Download version available from https://aniglass.bandcamp.com/album/mirores

http://www.recordiauneb.com/ani-glass

https://www.facebook.com/aniglasscymru/

https://twitter.com/Ani_Glass

https://www.instagram.com/ani_glass/

https://soundcloud.com/aniglass

Text by Chi Ming Lai
26th February 2020

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