Tag: Piston Damp

PISTON DAMP Making The World Great Again

PISTON DAMP are the new electronic pop duo based in Norway compromising of Jonas Groth and Truls Sønsterud.

Classically trained, Sønsterud became known for remixing under the alias of TRÖLL. Meanwhile Groth has been making music mostly with his old brother Stephan and his band APOPTYGMA BERZERK but with PISTON DAMP, he emerges from that shadow to front his own music. Having performed lead vocals on ‘Nearest’, an ethereal electronic ballad both in concert and on the most recent APOPTYGMA BERZERK EP ‘Nein Danke!’, it is a task he is more than ready for.

PISTON DAMP formed in 2000, but has remained as a hobby project until now. The duo’s first single ‘Something In Me’ perhaps unsurprisingly was reminiscent of the more immediate side of APOPTYGMA BERZERK. Catchy, melodic and rhythmic with an emotively spirited vocal, when Jonas Groth hits falsetto, it provides a most glorious lift.

Entitled ‘Making The World Great Again’, the album begins with the spy drama collage ‘ШУМ’ but a more formally start come with the rousing four-to-the-floor synthpop of ‘Hearts On Fire’ which recalls Swedish combo THE MOBILE HOMES and their ‘Feeling Better’ but with a heavier rhythmic stance.

As the second PISTON DAMP single, the anthemic ‘Runaway’ was given the remix treatment from MESH and DIE KRUPPS; here it punches its way into the psyche with a hypnotic bassline that just stops short of a squelch, while ‘Depth Of Your Eyes’ takes a diversion into an orchestrated 6/8 in the manner of DEPECHE MODE’s ‘One Caress’.

An instrumental interlude ‘Factor Out’ features commentary on spiritual connection which is more than fitting when it segues into the two minute ‘Never Thought It Would End’…

With its hymn-like topline over a gentle sequenced passage, ‘Never Thought It Would End’ comes over like U2’s ‘I Still Have Found What I’m Looking For’ arranged in the style of DEPECHE MODE’s ‘Waiting For The Night’. Continuing with the spirit of Basildon, while the ‘Making The World Great Again’ title song dons its hat off to ‘Black Celebration’, it almost immediately locks into something much pacier and anthemic with a fabulous array of synth sounds and a rousing optimistic chorus of voices that announce “we won’t make the same mistakes as them!”.

‘Don’t’ is the closest PISTON DAMP get to EBM with a thrusting triplet as chiming melodies and soaring vocals glide over a cinematic setting that sets it apart from the Bundeswehr crowd, particularly with an angelic vocal return from COMPUTORGIRL who released an EP back in 2002 that was co-produced by Jonas and Stephan Groth.

‘Loose Ends’ offers what A-HA might have sounded like had they adopted the more baroque industrial pop elements of APOPTYGMA BERZERK, which is not as crazy as it sounds because APOP remixed ‘Lifelines’ for a promo release in 2002.

Primarily instrumental with sporadic percussion, ‘Sacred Secret’ makes use of layered choir refrains while a lonely piano adds poignancy, but shaped by sombre strings, ‘Testimony’ could be a Nordic PET SHOP BOYS with its octave disco bass although the guitar line from DM’s ‘Precious’ finds a way to morph it into a homage to CAMOUFLAGE…

‘Another Pain’ acts as the closer and sees a spacey arpeggio allows Jonas Groth to express some heartfelt frustration and when his multi-tracked vocal ab-libs join in, it starts to sounds like THE BEATLES, especially with the trumpet line…

For anyone who loves the sort of tuneful melancholic European synth that emerged after ALPHAVILLE, A-HA and CAMOUFLAGE as well as the more immediate aspects of APOPTYGMA BERZERK, the self-produced ‘Making The World Great Again’ is an ideal collection to return everyone to a mindset that while reflective, is hopeful that everything is going to be alright.


‘Making The World Great Again’ is released by Sub Culture Records, available from https://subculturerecords.bandcamp.com/album/making-the-world-great-again

https://www.pistondamp.com/

https://www.facebook.com/pistondampcom

https://www.instagram.com/pistondamp/

https://open.spotify.com/album/54YyjAXhjYXjcmboEgvkO7


Text by Chi Ming Lai
Photo by Kine Jensen
10th June 2021

PISTON DAMP Interview

Jonas Groth and Truls Sønsterud are PISTON DAMP and the Norwegian duo are hoping to be ‘Making The World Great Again’ with their soon-to be released debut album.

Groth has been making music mostly with his old brother Stephan and his band APOPTYGMA BERZERK and on their most recent EP release ‘Nein Danke’, contributed lead vocals to the electronic ballad ‘Nearest’. Meanwhile the classically trained Sønsterud is known for remixes under the TRÖLL moniker.

The first PISTON DAMP single ‘Something In Me’ was a classic synthpop statement while the other 12 tracks on ‘Making The World Great Again’ vary from interlude soundscapes to EBM while dropping in hints of DEPECHE MODE, A-HA and THE BEATLES in between.

PISTON DAMP spoke collectively to ELECTRICITYCLUB.CO.UK about their genesis of their debut album and why it has taken them 20 years to arrive at this point.

‘Making The World Great Again’ is a rousing album, it has to be said!

Wow! Thank you so very much. We’ve put a lot of time and energy into making it a positive / celebrative album. Not like party-party, but an album with a clear message as to how we see the world and the people in it.

The ‘Making The World Great Again’ title song pays homage to ‘Black Celebration’ in the intro and optimistically declares “we won’t make the same mistakes as them”, was it important for you to make this kind of statement?

This is the last song to be written for the album – actually after the title was already on the table.

The line “we won’t make the same mistakes as them” refers to “them” as being those who came before us.

When Jonas started writing the song, it was with a clear intention to make it a follow-up to the song ‘Hearts On Fire’. Both are meant as fight songs or speeches to a lost generation, if you will. The Internet has made us, as a species, feel lonelier and more disconnected from each other. We don’t necessarily need to get rid of the Internet, but we need to make people understand that there is more to life than what it seems like at the moment.

The relatively new phenomenon Social Media is trying to substitute real relationships, and this is what Jonas is talking about in these lyrics – Starting a movement that shows people how important it actually is to be social and that the reason why love (as a concept) has become a cliché, is that it actually works and that more people probably should be spending time on trying to give and receive love, rather than distancing oneself behind a screen. ‘Black Celebration’ and the following three DM-albums are indeed inspirations for most of the songs on this album, both lyrically and musically.

You formed in 2000 so why has it taken so long to release music? Are any songs from those formative years on the album?

We formed as a fun project, working out of Jonas’s brother Stephan’s studio whenever he wasn’t there. He had an Apple computer and loads of synthesizers, especially the Waldorf Q and XTk were exciting ones to experiment with.

Jonas wrote a lot of songs for this project, and at least 7 exist in demo form from that period. In 2001, Jonas became a father and life just and several other music projects happened to both of us for the next 15 years. The last five years, we have tried to get together and re-record some of the songs on several occasions, but something always came up.

In the spring of 2020, Truls called Jonas and basically told him that since it still hadn’t happened, he wanted to get it out of his system and just ban the entire project for good. This sparked something in Jonas, and he wrote ‘Something In Me’ (or rather the Danish version ‘Noget I Mig’) that same evening. Upon hearing this they decided to give it one last try, and here we are! Hehehe…

The album tracks:

1 ШУМ (new)
2 Hearts On Fire (reworked from Jonas’ 2014 demo)
3 Runaway (Original PD track from 2000)
4 Something In Me (new)
5 Depth Of Your Eyes (Original PD track from 2000)
6 Factor Out (new)
7 Never Thought It Would End (reworked from Jonas’ 2010 demo)
8 Making The World Great Again (new)
9 Don’t (reworked from Jonas’ 2012 demo)
10 Loose Ends (Original PD track from 2000)
11 Sacred Secret (reworked from Jonas’ 2016 demo)
12 Testimony (Original PD track from 2000)
13 Another Pain (reworked from Jonas’ 1994 demo)

The first single ‘Something In Me’ announced that PISTON DAMP was very much a synthpop act, which artists had been inspirations in developing this sound?

For Jonas, it’s DEPECHE MODE (83 – 98), ERASURE (86 – 97), OMD, APOPTYGMA BERZERK, DURAN DURAN and ELEGANT MACHINERY, while for Truls, it’s PET SHOP BOYS, ERASURE, APOPTYGMA BERZERK and A-HA.

‘Hearts On Fire’ recalls Swedish combo THE MOBILE HOMES, does that formative period of Nordic new wave pop which also includes bands like LUSTANS LAKEJER and PAGE deserve more recognition outside of Scandinavia?

Absolutely. Sweden in particular has had an enormous and impressive electronic scene that we Norwegians have loved since it started. When Jonas has toured with APOPTYGMA BERZERK, he has often been confronted with band names like ELEGANT MACHINERY, SISTA MANNEN PÅ JORDEN and COVENANT, even in places like South America and Israel. So maybe it has more to do with exposure rather than recognition…?

Did you use vintage synthesizers to achieve your aims or are you software based?

Truls has built quite a large synth studio, and we use hardware almost exclusively when we record our music. Some synthesizers are used in almost every song, and some are more randomly used, like if we’re looking for a particular sound. Roland Juno-106 is a classic, and of course we use that. For strings, we prefer Roland RS-505. It has some massive, powerful strings, but they can also be tender and soft.

For bass, we use a wide variety of synths, for example Roland SH-101 and Minimoog Voyager. We also use modular stuff, drones and a lot of pedals, like the Moogerfoogers. The sonic possibilities both in vintage and new synths are endless in the creative process. The experimentation with hardware is important both for creating the sound and for inspiration to develop and expand the sonic and musical landscape. Among the rarer stuff is, for example, the Elektron SidStation and it is made with the original C-64 sound chips. This is the main synth on the theme and ARPs on ‘Another Pain’.

The anthemic ‘Runaway’ had the remix treatment from MESH and DIE KRUPPS when released as a pre-album bundle, how do you feel when you let others adapt your work?

Oh, we love it. The interpretations are always really exciting to hear. And listening to the four remixes of that song back-to-back is still great (MESH, DIE KRUPPS and SUBSTAAT plus the Extended version).  Getting talents we admire to reinterpret our basic ideas is an amazing way to get inspiration for moving on to whatever comes next. This is also a cool thing about the ‘Something In Me’ single where (apart from the A-side), the TECHNOMANCER remix is the version mostly played on Spotify. On YouTube, this version is by far our most played track.

The energetic ‘Don’t’ is the closest PISTON DAMP get to EBM and sees an old friend COMPUTORGIRL return for a cameo vocal, how was this reunion?

It was great fun. Especially since ‘Don’t’ originally was intended as a band song much inspired by THE CURE’s ‘A Foolish Arrangement’, and we only picked it up because we needed a B-side for the ‘Loose Ends’ single.

The track listing for the album was more or less finished, so we wanted a separate track as B-side. The middle part was instrumental, and we considered several solutions for this part including a spoken German poem, noises and effects, and other stuff.

One night Jonas was listening to one of his favourite albums – ‘Forever’ by CRANES – and the voice of Alison Shaw reminded him of Benedicte who is COMPUTORGIRL, whom he immediately wrote the vocal part for. Jonas did the vocal pre-production of the COMPUTORGIRL EP in 2002. Luckily, she was excited to do it, and the vocals were recorded the very next day. The song title was made up just as a word to save the song as when it was written. The word never came up in the lyrics, and therefore it became obvious that COMPUTORGIRL’s lines should all begin with that word. Eventually the song was nearly considered to be the A-side of the single, and ultimately it was given a place on the album too.

With its 6/8 signature and orchestrations, ‘Depth Of Your Eyes’ is quite different from the other tracks on ‘Making The World Great Again’?

Indeed, but it is actually the song that has changed the least since its 2000 demo form. This is the way it was intended to sound. The only difference is that the strings have now been played rather than being programmed. Tarjei Nysted and Kaja Pettersen play the exact notes that Jonas programmed 20 years earlier. The inspiration from the 86 – 93 DEPECHE MODE period is obvious here. We allowed ourselves to do stuff that wasn’t necessarily “genre correct”, simply because we wanted to do it, much like DM did when they brought in guitars, live drums etc.

‘Never Thought It Would End’ is almost hymn-like and comes over like U2’s ‘I Still Haven’t Found What I’m Looking For’ mashed-up with DEPECHE MODE’s ‘Waiting For The Night’?

It’s hard to define ‘Never Thought It Would End’ without commenting on ‘Factor Out’ which leads into ‘Never Thought It Would End’. ‘Factor Out’ was made as an intro, but quickly proved to have a life of its own. Truls kept expanding it both time wise and sound wise, which made the transition into ‘Never Thought It Would End’ much more exciting. They can both be viewed as separate tracks, but also as part 1 and 2 of the same song.

Jonas’s love of harmony vocals became a powerful tool here, and we wanted the song to have a lot of air in the mix (hence the panning of the vocals which vary throughout the song). The demo of the track was recorded with acoustic guitar on a laptop while the rest of the house was asleep, which makes it a very quiet and emotionally sore sounding demo. We tried to keep that vibe going in the electronic PD version.

‘Testimony’ borrows the guitar line from DM’s ‘Precious’ and sort of morphs into CAMOUFLAGE, how did this song come together?

‘Testimony’ was the only song we actually made a proper release-worthy version of 20 years ago. Due to Jonas working as a Label Manager Assistant at Hard:Drive (partly owned by Stephan), at the same location as where Sebastian Komor from ICON OF COIL had his studio.

Seb produced the track for us and gave us a clearer direction for the song. Most of his additions were very 2000/2001, and have thus been subtracted from the new version again. But the guitar part is the same now as then, and DM’s ‘Precious’ is from 2005, so who knows – maybe the borrowed it from us? Hahaha… Somewhere on the Internet you will probably still be able to find the ‘ICON OF COIL mix’ of ‘Testimony’.

The album closer ‘Another Pain’ appears to reveal THE BEATLES as an influence which perhaps is an unusual template for electronic pop?

Being one of the first songs Jonas ever completed (1994), it is very much a Beatles influenced song. THE BEATLES have always been a huge thing for Jonas (when asked about his top three favourite bands he usually replies: “THE CURE, DEPECHE MODE and KENT, but that’s just because THE BEATLES is a given and I don’t need to use up a place for them”. The sound collage at the end of ‘Another Pain’ is inspired by the latter years of THE BEATLES, but also by PINK FLOYD, which is a huge deal for Truls.

We share a love of the same kinds of music, but rarely the same bands. The album version of ‘Another Pain’ was the first one to be made, and the ‘Blue Hearts Version’ which was used as a B-side for ‘Something In Me’ was made from this version. If you listen closely, you can hear an element of each of the other album tracks in this outro.

Which are your own favourites on ‘Making The World Great Again’ and why?

For Jonas, this changes all the time. At the moment it is ‘Don’t’, but his favourite one to record was ‘Making The World Great Again’.

This changes for Truls as well. Right now he would say ‘Testimony’, but he had a plan very early in the making of this album, that it was going to be musically arranged and produced so that each song should set the mood for the song after, and as well be a contrast to the foregoing song. And that makes it hard to pick a specific song out of the context. The songs make each other good, and the combination of them makes them even better than when they stand alone.

What are your future plans, if you have been able to make any?

Well first of all, we’re planning a virtual release party for the album on June 5th where you can hear all the songs from the album 5 days before the release, and we’ll perform 3 songs live, do some interviews, giveaways, competitions etc. So, we’re quite looking forward to that, as it will give us an early indication of what people think of the album.

We have already started on the next single, and we are planning what to do for the next album. There are still some really strong songs left from the original demos, and we want to use some of them for a follow-up album as soon as possible. We’d love to play live shows, and we have a few gigs already being planned, so we’re just hoping for the world to open up so we can help make it great again!

We’re both very keen on getting on stage to try our songs out on a live audience as soon as time permits, so both festivals, club-gigs and support gigs for other acts are what we’re planning and looking for, to be honest. Safe to say, PISTON DAMP is hard at work, and there will be more coming from us in all shapes, sizes, and forms in the months ahead!


ELECTRICITYCLUB.CO.UK gives its sincerest thanks to PISTON DAMP

Special thanks to Per Aksel Lungreen at Sub Culture Records

‘Making The World Great Again’ is released 21st June 2021 by Sub Culture Records, available direct from https://subculturerecords.bandcamp.com/album/making-the-world-great-again

The PISTON DAMP Virtual Release Party takes place on 5th June 2021 at 1700 UK time via Facebook, details at https://www.facebook.com/events/369780110999711

https://www.pistondamp.com/

https://www.facebook.com/pistondampcom

https://www.instagram.com/pistondamp/


Text and Interview by Chi Ming Lai
Photos by Kine Jensen
31st May 2021

2020 End Of Year Review

“It’s such a strange day, in such a lonely way” sang NEW ORDER on ‘Truth’ in 1981.

The coronavirus crisis of 2020 put the entire live music industry into limbo as concerts were postponed and tours rescheduled.

The situation was affecting everyone with several musicians like Bernard Sumner, Andy McCluskey, John Taylor and Sarah Nixey publicly stating that they had contracted the virus. Even when all pupils returned to schools in the Autumn, there was a ban on indoor singing in English classrooms. It was an indication that out of all professional fields, the arts was going suffer the most.

To make up for the absence of live shows, online streamed events become popular. Two of the best live online gigs were by Swedish veterans LUSTANS LAKEJER from the KB in Malmö and Sinomatic techno-rockers STOLEN with Lockdown Live From Chengdu. Not strictly a lockdown show but available for all to view on SVT was a magnificent live presentation of KITE at the Royal Opera House in Stockholm recorded in late 2019 combining synthesizers, orchestra and choir, proving again why Nicklas Stenemo and Christian Berg are the best electronic duo in Europe.

Concluding his ‘Songs: From the Lemon Tree’ series, Bon Harris of NITZER EBB presented a wonderful set of four electonic cover versions including songs made famous by Joan Armatrading, Connie Francis and Diana Ross. Meanwhile among independent musicians, Dubliner CIRCUIT3 led the way with an innovative multi-camera effected approach to his home studio presentation and Karin My performed al fresco in a forest near Gothenburg.

Taking the initiative, ERASURE did a delightful virtual album launch party for their new album ‘The Neon’ on Facebook with Vince Clarke in New York and Andy Bell in London, talking about everything from shopping to classic synthpop tunes.

Demonstrating a possible new model for the future, Midge Ure launched his subscription based ‘Backstage Lockdown Club’ which included intimate live performances and specials guests like Glenn Gregory and Howard Jones.

Other streamed forms of entertainment came via podcasts and among the best was ‘The Album Years’ presented by Steven Wilson and Tim Bowness. Their knowledgeable and forthright views on selected years in music were both informative and amusing. It was interesting to note that at the end of the 1976 episode, the pair nominated ‘Oxygène’ by Jean-Michael Jarre as the most important album of that year while for 1979, it was ‘The Pleasure Principle’ by Gary Numan.

Many artists who had scheduled releases in 2020 went through with them, although in some cases, there were the inevitable delays to physical product. But a few notable acts couldn’t help but abuse the situation, notably a certain combo from Basildon.

There were already “quality control issues” with the lavish ‘MODE’ 18 CD boxed set, but there was uproar even among the most hardcore Devotees with the ‘Spirits In The Forest’ release. The cardboard packaging was reported to be flimsy and prone to dents, while there was continuity errors galore as Dave Gahan rather cluelessly and selfishly wore different coloured outfits over the two nights in Berlin that the live footage was filmed under the direction of Anton Corbijn.

As if that wasn’t bad enough, there was an Anton Corbijn official illustrated history of DEPECHE MODE entitled ‘DM AC’ in the form of a coffee table photo book published by Taschen which retailed at €750; even though it was signed by Messrs Gahan, Gore and Fletcher, the price tag was a mightily steep. The increasingly ironic words of “The grabbing hands grab all they can…” from ‘Everything Counts’ were not lost on people, who are people, after all!

But Andy Fletcher did provide the most amusing and spot-on quote of the year; during DEPECHE MODE’s acceptance speech into that dinosaur institution The Rock & Roll Hall Of Fame, when Dave Gahan remarked to his bandmates that “I dunno what the hell I would have been doing if I didn’t find music to be quite honest…”, the banana eating handclapper dryly retorted “YOU’D HAVE BEEN STILL STEALING CARS DAVE!”

There were lots of great albums released in 2020 and Berlin appeared to be at the creative centre of them.

There was ‘LP II’ from LINEA ASPERA who made a welcome return after eight years in hiatus and  the playful debut by ULTRAFLEX, a collaborative offering from Berlin-based Nordic artists SPECIAL-K and FARAO which was “an ode to exercise, loaded with sex metaphors badly disguised as sports descriptions” .

The DDR born Jennifer Touch told her story with ‘Behind The Wall’ and resident New Yorker DISCOVERY ZONE was on ‘Remote Control’, while Lithuania’s top pop singer Alanas Chosnau made ‘Children of Nature’, his first album in English with Mark Reeder, who himself has lived in the former walled city since 1978; their collected experiences from both sides of the Iron Curtain made for a great record with the political statement of ‘Heavy Rainfall’ being one of the best songs of 2020.

Synth-builder and artist Finlay Shakespeare presented the superb angst ridden long player ‘Solemnities’ with its opener ‘Occupation’ tackling the social injustice of unemployment. A most frightening future was captured in musical form by New York-resident Zachery Allan Starkey who saw his home become a ‘Fear City’, while WRANGLER got themselves into ‘A Situation’.

SPARKS discussed ‘The Existential Threat’ and ‘One For The Ages’ while pleading ‘Please Don’t F*ck Up My World’ on their eclectic 25th album ‘A Steady Drip, Drip, Drip’, just as NIGHT CLUB reflected what many were thinking on ‘Die Die Lullaby’ with ‘Miss Negativity’ looking to ‘Die In The Disco’ while riding the ‘Misery Go Round’.

ASSEMBLAGE 23 chose to ‘Mourn’ with one of its highlights ‘Confession’ illustrating what DEPECHE MODE could still be capable of, if they could still be bothered.

But it was not all doom and gloom musically in 2020. With the title ‘Pop Gossip’, INTERNATIONAL TEACHERS OF POP did not need to do much explaining about the ethos of their second album and drum ‘n’ synth girl GEORGIA was happily ‘Seeking Thrills’.

Veterans returned and 34 years after their debut ‘Windows’, WHITE DOOR teamed up with the comparative youngster Johan Baeckström for ‘The Great Awakening’, while CODE made a surprise return with their second album ‘Ghost Ship’ after an absence 25 years.

‘The Secret Lives’ of German duo Zeus B Held and Mani Neumeier illustrated that septuagenarians just want to have fun. Along with Gina Kikoine, Zeus B Held was also awarded with Der Holger Czukay Preis für Popmusik der Stadt Köln in recognition of their pioneering work as GINA X PERFORMANCE whose ‘No GDM’ was a staple at The Blitz Club in Rusty Egan’s DJ sets.

Incidentally, Rusty Egan announced that Zaine Griff would be joining him with Numan cohorts Chris Payne and David Brooks in a live presentation of VISAGE material, although the announced dates were postponed, pending rescheduling for 2021.

Swiss trailblazers YELLO were on ‘Point’ and continuing their occasional creative collaboration with Chinese songstress Fifi Rong, while one time YELLOW MAGIC ORCHESTRA collaborator Hideki Matsutake returned as LOGIC SYSTEM and released a new long player ‘Technasma’, his project’s first for 18 years.

It was four decades since John Foxx’s ‘Metamatic’ and Gary Numan’s ‘Telekon’, with the man born Gary Webb publishing ‘(R)evolution’, a new autobiography to supersede 1997’s ‘Praying To The Aliens’. Meanwhile, the former Dennis Leigh teamed up with former ULTRAVOX guitarist Robin Simon plus his regular Maths collaborators Benge and Hannah Peel for the blistering art rock statement of ‘Howl’ as well as finally issuing his book of short stories ‘The Quiet Man’.

2020 saw a lot of 40th anniversaries for a number of key albums including ‘Vienna’ by ULTRAVOX, ‘Travelogue’ by THE HUMAN LEAGUE and ‘Closer’ by JOY DIVISION.

Back in 1980, it was not unusual for bands to release two albums in a calendar year as OMD did with their self-titled debut and ‘Organisation’, or JAPAN did with ‘Quiet Life’ and ‘Gentlemen Take Polaroids’.

It appeared to be a tradition that BLANCMANGE were adopting as Neil Arthur delivered the acclaimed ‘Mindset’ and an enjoyable outtakes collection ‘Waiting Room (Volume 1)’.

PET SHOP BOYS and CERRONE proved they still liked to dance to disco because they don’t like rock, but the year’s biggest surprise came with THE SMASHING PUMPKINS whose single ‘Cyr’ crossed the templates of classic DEPECHE MODE with DURAN DURAN.

Interestingly, Gary Daly of CHINA CRISIS and Michael Rother of NEU! used sketches recorded many moons ago to inspire their 2020 solo creations, proving that if something is a good idea, it will still make sense years later. Veteran Tonmeister Gareth Jones released his debut solo album ‘ELECTROGENETIC’ having first come to prominence as the studio engineer on ‘Metamatic’ back in 1980, but Jah Wobble was as prolific as ever, issuing his ninth album in four years, as well as a run of download singles over lockdown.

ANI GLASS had her debut long player ‘Mirores’ shortlisted for Welsh Music Prize and OMD remixed her song ‘Ynys Araul’ along the way, while SARAH P. was ‘Plotting Revolutions’. NINA and a returning ANNIE vied to be the Queen Of Synthwave with their respective albums ‘Synthian’ and ‘Dark Hearts’, although Canadian synth songstress DANA JEAN PHOENIX presented her most complete and consistent body of work yet in ‘Megawave’, a joint album with POWERNERD.

RADIO WOLF & PARALLELS contributed to the soundtrack of the film ‘Proximity’ released on Lakeshore Records and from the same label, KID MOXIE made her first contribution to the movie world with the score to ‘Not To Be Unpleasant, But We Need To Have A Serious Talk’ that also featured a stark cover of ALPHAVILLE’s ‘Big In Japan’. Meanwhile gothwavers VANDAL MOON made their most electronic album yet in ‘Black Kiss’ and POLYCHROME got in on the kissing act too with their new single ‘Starts With A Kiss’.

It would be fair to say in recent times that the most interesting and best realised electronic pop has come from outside of the UK; the likes of TWICE A MAN and COSAQUITOS EN GLOBO explored the darker side of life, although TRAIN TO SPAIN used the dancefloor as their mode of expression, 808 DOT POP developed on the robopop of parent band METROLAND and ZIMBRU preferred disco art pop.

In Scandinavia, there was the welcome return of UNIFY SEPARATE (formally US) and HILTIPOP aka Magnus Johansson of ALISON who finally released some music in his own right; once he started, he didn’t stop with 9 releases and counting in 2020! APOPTYGMA BERZERK released ‘Nein Danke!’, their self-proclaimed return to “New Wave Synthpop” and out of that set-up sprang the very promising PISTON DAMP.

Within the PAGE camp, Eddie Bengtsson continued his Numan fixation on the ‘Under Mitt Skinn’ EP although his musical partner Marina Schiptjenko teamed up with LUSTANS LAKEJER bassist Julian Brandt to ride the Synth Riviera for a delightful second helping of their electro crooner concept cheekily titled ‘For Beautiful People Only’.

Over in Germany, U96 teamed up Wolfgang Flür while RENARD, the solo vehicle of Markus Reinhardt from WOLFSHEIM teamed with Marian Gold of ALPHAVILLE and Sarah Blackwood of DUBSTAR. DUBSTAR themselves released a striking corona crisis statement entitled ‘Hygiene Strip’ which saw reconfigured duo reunited with producer Stephen Hague. Meanwhile another poignant song on the topic ‘Small World’ came from SNS SENSATION, the new project by Sebastian Muravchik of HEARTBREAK. In lockdown, TINY MAGNETIC PETS recorded an entire album which they called ‘Blue Wave’.

Of course, 2020 was not full of joy, even without the pandemic, as the music world sadly lost Florian Schneider, Gabi Delgado-Lopez, Chris Huggett, Andrew Weatherall, Matthew Seligman, Dave Greenfield, Rupert Hine, Tom Wolgers, Harold Budd and Ennio Morricone.

An introspective tone was reflected the music of female fronted acts such as and ZANIAS, PURITY RING, WE ARE REPLICA, KALEIDA, LASTLINGS, NEW SPELL, WITCH OF THE VALE, REIN, BLACK NAIL CABARET, GLÜME, GEISTE THE FRIXION, FEMMEPOP and SCINTII. However, countering this, the optimism of RIDER, ROXI DRIVE and NEW RO presented a much brighter, hopeful take on life and the future.

ELECTRICITYCLUB.CO.UK celebrated 10 years as a platform and affirming the site’s intuition about synth talent in anticipation of them achieving greater things, SOFTWAVE opened for OMD on the Scandinavia leg of their ‘Souvenir’ tour. The Danish duo became the sixth act which the site had written about to have become part of a tradition that has included VILLA NAH, MIRRORS, VILE ELECTRODES, METROLAND and TINY MAGNETIC PETS.

On a more cheerful note, S.P.O.C.K beamed down to Slimelight in London before lockdown for their first British live performance in 17 years. Meanwhile on the same night, LAU NAU and VILE ELECTRODES did modular sets at Cecil Sharp House, the spiritual home of English traditional music.

At that event, ELECTRICITYCLUB.CO.UK took delight in curating a DJ set comprising of John Cage’s 4’33” in variations by DEPECHE MODE, GOLDFRAPP, ERASURE, NEW ORDER and THE NORMAL from Mute’s Stumm433 boxed set. This defiant act of silence even caused a curious Jonathan Barnbrook to raise an eyebrow, this from the man who designed the artwork with the white square on David Bowie’s ‘The Next Day’ 😉

The final live event that ELECTRICITYCLUB.CO.UK attended before the March lockdown was an informative lecture at Queen Mary University in London presented by noted cultural scholar Dr Uwe Schütte, in support of his book ‘KRAFTWERK Future Music From Germany’.

Also attending was Rusty Egan who held court at the reception afterwards by having a debate with another musician about the state of UK synth music. He then loudly beckoned ELECTRICITYCLUB.CO.UK over and mentioned how the site was only interested acts that scored “9 out of 10” before admitting that a number of acts he supported only scored “6 out of 10”, with his reasoning being that if acts aren’t supported, then there will be no synth acts existing at all. After a decade in existence, ELECTRICITYCLUB.CO.UK remains proud that it is still extremely selective.

In 2020, the notion of reviews being needed to achieve a promotional profile underwent an existential crisis among media platforms. With streaming now being the main method of music consumption, why would anyone want to read a blog for an opinion about an album when they can just hit ‘play’ and hear the thing for themselves on Spotify, Amazon, Tidal or Bandcamp?

The sound of classic synthpop does live on happily in today’s mainstream via singles by THE WEEKND, DUA LIPA and even STEPS! In that respect, the trailblazing kings and queens of Synth Britannia from four decades ago did their job rather well.

From SUGABABES mashing-up ‘Are Friends Electric?’ for ‘Freak Like Me’ in 2002 to ‘Blinding Lights’ borrowing a bit of A-HA in 2020, the sound of synth is still strong.

It is up to any potential successors to live up to that high standard of Synth Britannia, which was as much down to the quality of the songwriting, as much as it was to do with the sound of the synthesizer. It is a fact that many overlook and if aspiring musicians could pay more attention to the song, instead of making the synthesizer the excuse for the song, then classic electronic pop music may still be around for a little longer and continue to evolve.


ELECTRICITYCLUB.CO.UK Contributor Listings of 2020

PAUL BODDY

Best Album: LOGIC SYSTEM Technasma
Best Song: NEW ORDER Be A Rebel
Best Gig / Live Stream: NICOLAS GODIN at London Rough Trade
Best Video: POLLY SCATTERGOOD Snowburden
Most Promising New Act: RUE OBERKAMPF


IAN FERGUSON

Best Album: ASSEMBLAGE 23 Mourn
Best Song: DUBSTAR I Can See You Outside
Best Gig / Live Stream: WITCH OF THE VALE online Unplugged Live for SAY Women
Best Video: STEVEN WILSON Personal Shopper
Most Promising New Act: LASTLINGS


SIMON HELM

Best Album: LINEA ASPERA LPII
Best Song: PAGE Blutest Du?
Best Gig / Live Stream: LAU NAU + VILE ELECTRODES at Cecil Sharp House
Best Video: STRIKKLAND Dance Like A God
Most Promising New Act: INDEPENDENT STATE


CHI MING LAI

Best Album: LINEA ASPERA LPII
Best Song: ALANAS CHOSNAU & MARK REEDER Heavy Rainfall
Best Gig / Live Stream: LUSTANS LAKEJER online at Malmö KB
Best Video: ULTRAFLEX Olympic Sweat
Most Promising New Act: LASTLINGS


MONIKA IZABELA TRIGWELL

Best Album: ERASURE The Neon
Best Song: DUBSTAR Hygiene Strip
Best Gig / Live Stream: IŻOL Koncert online at Ziemi Rybnickiej
Best Video: PET SHOP BOYS Monkey Business
Most Promising New Act: MENTRIX


Text by Chi Ming Lai
21st December 2020

Introducing PISTON DAMP

PISTON DAMP are the new electronic pop duo based in Norway compromising of Jonas Groth and Truls Sønsterud.

The classically trained keyboardist / songwriter / arranger Truls Sønsterud has been playing piano since he was a child while singer/songwriter/producer Jonas Groth has been making music for more than 20 years’ experience mostly connected to his older brother Stephan and his band APOPTYGMA BERZERK.

Also connected to acts such as industrial rockers MAGENTA who he helped out on their 2009 album ‘Art & Accidents’, Jonas Groth has slowly been moving towards the front in the last few years and sang lead vocals on ‘Nearest’, an ethereal electronic ballad from the most recent APOPTYGMA BERZERK EP ‘Nein Danke!’.

The debut PISTON DAMP single ‘Something In Me’ was written and recorded with Stephan Groth serving as pre-production supervisor, so perhaps unsurprisingly, it is reminiscent of the more immediate side of APOPTYGMA BERZERK

But ‘Something In Me’ is what APOPTYGMA BERZERK or AESTHETIC PERFECTION would sound like if they were in full synthpop mode. Catchy, bubbly, melodic and rhythmic with an emotively spirited vocal, when Jonas Groth hits falsetto, it provides a most gloriously optimistic lift. Meanwhile, its twin ‘Noget I Mig’ is ‘Something In Me’ sung in Danish and this element adds an extra air of mystery to non-native speakers and reveals the song’s likely Nordic folk influence more explicitly.

The B-side of this debut single is a ‘Blue Heart’ version of ‘Another Pain’ and affirms just as ‘Shout’ did for DEPECHE MODE’s similarly folk influenced ‘New Life’, that PISTON DAMP are likely to have quality first album in the can. Much sparser than ‘Something In Me’, the spacey arpeggio on this version of ‘Another Pain’ allows Jonas Groth to soar, expressing some heartfelt frustration that the love of his life hasn’t even noticed him. And when his multi-tracked vocal ab-libs join in, it starts to sounds like FREIHEIT or ELO or THE BEATLES, depending on your way of thinking!

Both ‘Something In Me’ and ‘Noget I Mig’ come in a number of remixes from the likes of PEGBOARD NERDS, TECHNOMANCER, KLEINMELKER and THE ANIX, although classic synth fans will be most interested in the Extended 12” Remix that comes in the nine-track bundle.

It is the right moment for Jonas Groth to emerge from the shadow of his older brother and PISTON DAMP is a fine vehicle in which take that journey.


‘Something In Me’ is released by Sub Culture Records, available as a download bundle from https://subculturerecords.bandcamp.com/album/something-in-me

https://www.pistondamp.com/

https://www.facebook.com/pistondampcom

https://www.instagram.com/pistondamp/


Text by Chi Ming Lai
Photo by Kine Jensen
15th October 2020