Big corporations may have a stranglehold on the modern music industry, but it’s the genuine music enthusiasts with their independent labels and knowledge of their respected genres who feed it by their intuition to recognise talent. One of the most successful has been Daniel Miller with Mute Records; his ambition brought DEPECHE MODE, YAZOO, ERASURE, MOBY and GOLDFRAPP to the world.
And in the current climate, there are others too; in Europe, there’s George Geranios whose Undo Records has given us electro delights such as MARSHEAUX, MIKRO, NIKONN and KID MOXIE. And here in the UK, there has been Mark Jones, impresario of Wall Of Sound Records.
The label began as a collaboration between Jones and Marc Lessner, when Lessner employed Jones at his music distributor Soul Trader. Compilations and club nights followed. Wall Of Sound turned first PROPELLERHEADS and then RÖYKSOPP into Top 10 album acts while the label also launched the career of Stuart Price aka LES RYTHMES DIGITALES.
Belatedly getting a hit single in 2004 with ‘Jacques Your Body (Make Me Sweat)’ following its use in the ‘Transformer’ Citroën C4 TV ad, Stuart Price’s influence on the shape of 21st century popular music cannot be under estimated… read the production credits of albums by MADONNA, THE KILLERS, TAKE THAT and PET SHOP BOYS if you’re unsure!
Comparatively more recently, Wall Of Sound have released albums by GRACE JONES, THE HUMAN LEAGUE and BEF.
As a long-time fan of electronic music, Mark Jones’ success also led him to becoming involved with BBC6 Music under his Back To The Phuture banner, with programmes that have recognised the history of electronic pop. BTTP also hosted the ambitious ‘Tomorrow Is Today’ event featuring GARY NUMAN, JOHN FOXX, MIRRORS and MOTOR in Spring 2011.
With Wall Of Sound now celebrating their 21st Anniversary with a compilation entitled ‘Walls Have Ears – 21 Years of Wall Of Sound’ featuring the label’s highlights and previously unreleased BBC sessions, Mark Jones chatted to ELECTRICITYCLUB.CO.UK…
What was the music that inspired you when you were growing up as a teenager, and how did this shape Wall Of Sound as a record label?
OK, well I reacted against what my brother and sister were into, as you do, which was rock and reggae at the time. I was transfixed by electronic music and got my Mum and Dad to get me a Yamaha CS01 from the Grattans catalogue. I painted my bedroom black and sat up there making noises. The sounds and scapes made it all work. I’ve always loved melody too and been hooked on hooks. Some of the music that made me do it…
THE HUMAN LEAGUE – Every single track / album they created from the beginning 🙂
BLONDIE ‘Parallel Lines’ – I was obsessed with the band and Debbie Harry as a teen.
THE NORMAL ‘TVOD’- Electroid post-punk that inspired me to make the first ever Wall Of Sound single, as Daniel Miller did with this and Mute Records.
DEPECHE MODE ‘Just Can’t Get Enough’ – The first synth riff I learnt and still is with me every minute of every day, I followed them around Germany in 1983 🙂
STEELY DAN ‘Do It Again’ – The band that brought all the Wall Of Sound artists together bizarrely.
The label’s first Top 20 single was ‘History Repeating’ in 1997 with PROPELLERHEADS and SHIRLEY BASSEY. It was quite an eccentric idea although in many ways, it was an obvious one given the duo’s interest in Bond themes. Whose idea was it to bring in her in?
Well, we had talked about getting vocalists and the idea was rinsed out in the very early hours in some dodgy Belgian hotel. Alex Gifford and myself were both a bit obsessed with getting her on the track. Alex had recorded a basic vocal through a pitch shifter and it sounded more like BILLIE HOLIDAY than SHIRLEY BASSEY. We then pitched it to Shirley’s management and she was digging it in very first listen… the rest is history… repeating.
What was the reaction like during the climax of Britpop and chart dominance by tedious bores like TRAVIS and STEREOPHONICS to Wall Of Sound’s release of an electropop album like LES RYTHMES DIGITALES ‘Darkdancer’ in 1999?
Oooooooooh! Well, I’ve said this before, but I did get hate mail and death threats when we got ‘Darkdancer’ out there. Some peeps really didn’t get it at that time as they saw the 80s as an enemy. Literally!
How did you discover Stuart Price aka Jacques Lu Cont aka LES RYTHMES DIGITALES? And what’s it been like watching him rise to working with MADONNA and literally becoming the top record producer in the world?
He bunked off school and came to see me at Soul Trader with Adam Blake as they had the band ZOOT WOMAN who I listened to and loved. I signed them up and released them, it was the fifth ever single on the label. He then informed me he had some ‘other music’ which was his school music exam and played it to me; that was ‘Liberator’. We then created LES RYTHMES DIGITALES and Jacques Lu Cont, as I said he couldn’t be the same person and the French thing was buzzing. ‘Darkdancer’ really stands the tests of time.
He is one of, if not, my proudest signing ever to the label. Seeing him elevate to being one of the world’s leading producers, and working with the world’s leading artists is something that I am very proud of.
Is it true that you first approached Phil Oakey about singing on LES RYTHMES DIGITALES’ song ‘Sometimes’ which was eventually sung by NIK KERSHAW?
I don’t remember that, but I probably did 🙂
‘Dare’ was the album that changed Stuart’s life as he was pretty much listening to classical music before that apparently!
The sublime ‘Melody AM’ by RÖYKSOPP was a really important album for Wall Of Sound. How did you find them and what makes them so magically consistent?
RÖYKSOPP have never compromised their artistic integrity, and they never will. ‘Melody AM’ is the biggest selling album in the label’s history. They are who they are, and not someone else. They featured on a Norwegian compilation and we found them there. I flew over to see them and we made things happen.
How do you look back on signing THE HUMAN LEAGUE and the resultant album ‘Credo’?
Well, they say “Never work with your heroes!” but I thought “F*** that!”; sowhen the opportunity arose to give them the bounceboard and platform that they needed, I couldn’t say no! The band made me do what I do. ‘Credo’ is a great album and was loved by everyone that actually heard it. The band were / are great to work with.
Of course, you released BEF’s ‘Music Of Quality & Distinction Volume 3 – Dark’, continuing the association with HUMAN LEAGUE co-founder Martyn Ware. Would you be interested in releasing the new HEAVEN 17 album?
Yes! BEF ‘Music Of Quality & Distinction 3: Dark’ had some amazing guest vocalists. Martyn Ware is another inspiring artist who creates magical moments in music. A new HEAVEN 17 album would be great to hear.
You were a big fan of synth band MIRRORS, although they were on Skint Records and sadly didn’t breakthrough. What would you have done different with them if they had been signed to Wall Of Sound?
Yep, I loved MIRRORS. I’m not clear on what exactly happened though, I assumed the band split up so there was nothing the label could do. You have to understand exactly who a band are and what they want to achieve to make things happen.
You’ve been very critical of the ‘X Factor’ dominance on the music industry. But what are your thoughts on the more generic EDM that’s sweeping the US?
*adopts American accent* EDM?? It’s brand new, right ? 🙂
With EDM, the penny has dropped and the pills have dropped. Hopefully, they will be asking “where did this music come from?” sometime soon…
They need music in a ‘box / brand’ over there but hey, it’s finally happened and broken through. It is crazy. I’ve said this a few times too… when I first took music from the label over to the USA, most peeps I played it to said (*readopts American accent *) “This is not music! This is not ‘real’ music” because it didn’t have a ‘real’ instruments on it.
Then when we did PROPELLERHEADS and more, they were like (*American accent*) “Wait… is that a guitar?? Is that drums?? This is real music now!”; they had a bump there. Never played on daytime radio but it did well and connected to people.
What’s been your highlight with Wall Of Sound after 21 years?
Still being here… but it was apparently always my goal to get to this point. In every interview I did back in the crazy days when journalists asked “Why are you doing this?”, I answered “Cos I’m going to get to 20 years… and stick it up your ar*e!”
I am proud of all of the music that I have released on the label, and giving artists the platform to do what they do and be themselves.
What new electronic acts do you rate at the moment?
All the acts on the label obviously… but there are a few others 🙂
CHVRCHES
DENIS THE NIGHT & THE PANIC PARTY
MARSHEAUX
What’s next for Wall Of Sound?
A new RÖYKSOPP single…
EKKOES – like HURTS meets THE HUMAN LEAGUE
KILLSFLAW – THE CHEMICAL BROTHERS vs LED ZEPPELIN… rock ‘n’ rave or as I am calling it in the USA… RDM! (Rocktronic Dance Music) 🙂
KIDS ON BRIDGES – the album ‘Kidology’ is out there. They combine electronics and guitars
in a cool way too
PERFECT DAY – pop vs rock (prock), they are amazing 😉
There are some very new artists that I cannot announce at momento, as contracts not signed and someone will probably steal them!
Will Back To The Phuture ever return and would you be interested putting on another event like ‘Tomorrow Is Today’ featuring GARY NUMAN, JOHN FOXX, MIRRORS and MOTOR? If so, who would be the fantasy line-up?
Well, I’ve been focussing on the Wall of Sound fanniversary, the ‘Walls Have Ears’ compilation release and more.
But yes, Back To The Phuture will be returning, so many peeps have been asking me about it too. It looks like there will be some residencies around the world and more. There are too many phantasy line ups for me 🙂
Where do I start? BTTP places classic artists with new artists rather than being too retro-minded to. I have some cool ideas, but don’t want to mention them as they will deffo get borrowed. Phantasy line-ups… here are some that explore different electronic genres…
Line-up 1
THE HUMAN LEAGUE
HEAVEN 17
EKKOES
Line-up 2
KRAFTWERK
BBC RADIOPHONIC WORKSHOP
PUBLIC SERVICE BROADCASTING
Line-up 3
DEPECHE MODE
CABARET VOLTAIRE
THE NORMAL
Line-up 4
GIORGIO MORODER
JEAN MICHEL JARRE
CERRONE
YELLO
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Mark Jones
In the five years since its formation on 15th March 2010, ELECTRICITYCLUB.CO.UK has reviewed over 100 albums and EPs.
During this time, the album has become less of an artistic statement, with the focus of both consumer and media on single songs directly led to the prominence of the extended EP or mini-album in today’s digital marketplace.
It is a halfway house, but at least the creative output of an artist can be showcased by a small body of work. And increasingly, many are combining and reworking several EP releases in order to formulate a full length album. Despite the move towards downloads and streaming, there is still a demand for physical product.
However, ELECTRICITYCLUB.CO.UK has been slightly bemused by the music industry bias towards vinyl, to the neglect of CD. It should be noted that silver digital discs are still the preferred medium for the general consumer, as proven by the million plus sales of TAYLOR SWIFT’s ‘1989’ opus on CD. This was a release which was confined to compact disc and digital download variants with no concessions towards streaming and, initially in the first few months of release, vinyl.
ELECTRICITYCLUB.CO.UK confesses it has no love whatsoever for vinyl in the 21st Century, and is rather irritated by it being turned into an antiquated object of fetish and snobbery which bears little relation to the music on it.
And to think ironically that the world’s record labels tried to kill off vinyl back in 1989 in favour of err… cassette! Yes, the music industry… as forward thinking as ever!! With regards Spotify, ELECTRICITYCLUB.CO.UK actually is not particularly fond of that either…
Even with the subscription model, with so much music available, most of it is not listened to properly, thus devaluing any music that is perhaps worthy of greater recognition. Think of it like the casual music festival goer who just hops between all the acts playing on the many different stages after just two songs… it’s a false economy in reality!
But despite its concerns, ELECTRICITYCLUB.CO.UK still loves a good album in whatever format. It is the content that is most important, not the mode of carriage. So which long players still stand up to scrutiny and can claim to have lasted the course over the last five years? Listed by year then alphabetical order, with a restriction of one album per artist and no recent releases from 2015, here are our 30 favourite albums from the period between 2010 to 2014…
GOLDFRAPP Head First (2010)
Although now disowned by the duo, ‘Head First’ was Alison Goldfrapp finally all relaxed and having fun. Stomping synth tunes like ‘Alive’, ‘Believer’ and ‘Believer’ were fine examples of Ms Goldfrapp taking her Olivia Newton John fixation (which had been apparent on early B-side ‘UK Girls’ with its interpolation of ‘Physical’) to a fully realised musical level. But best of all though on this short and sharp collection were the marvellous ABBA tribute of the ‘Head First’ title track and the ethereal ARP laden Eurodisco of ‘Dreaming’. While the more recent ‘Tales Of Us’ has seen GOLDFRAPP venture into more cinematic orchestrations again, a return to electronic pop is always possible with Ms Goldfrapp’s record of chameleon-like tendencies.
‘Head First’ is available as a CD, LP and download via Mute Records
One of the best electronic albums to have been released in 2010, ‘Origin’ was a fine crystalline balancing act that combined the classic synthpop of days gone by, with the freshness of new technologically fuelled dance music. The songs of the Helsinki based duo Juho Paolosmaa and Tomi Hyyppä ranged from the supreme GARY NUMAN on Prozac of ‘Remains Of Love’ and ‘Ways To Be’, to the Moroder-esque hypnotism of ‘Kiss & Tell’. Then there were the OMD influences on ‘Some Kind Of Dream’ and ‘Envelope’ so it was not entirely surprising the pair were invited to support than band on their 2010 tour. But while VILLA NAH then went into hiatus, Paolosmaa partnered up with ‘Origin’ co-producer Jori Hulkkonen to form SIN COS TAN.
‘Origin’ is available as a CD, LP and download via Keys Of Life Records
The baroque electronic trio of Katie Stelmanis, Maya Postepski and Dorian Wolf successfully broke away from the short lived Witch House sub-genre to yield their own emotionally charged sound. The moodily enigmatic ‘Beat & The Pulse’ and the frankly bonkers ‘Lose It’ had already gained a worthy amount of attention as singles and luckily, AUSTRA’s debut album did not disappoint. The tremendously epic spectre of ‘The Villain’ successfully utilised programmed technology and live drums while the sexual tension of ‘Spellwork’ was like a gothic opera crossing THE KNIFE with DEPECHE MODE that provided their most overtly synthpop offering.
‘Feel It Break’ is available as a CD, LP and download via Domino / Paper Bag Records
Since the return of the classic line-up in 2004, DURAN DURAN’s new material had general failed to meet expectations. However, despite losing guitarist Andy Taylor on the way, the Mark Ronson produced ‘All You Need Is Now’ saw DURAN DURAN reclaim their quintessential sound. The superb glitterball rework of ‘Are Friends Electric?’ for the title track signalled their intentions while ‘Girl Panic’ and ‘Runaway Runaway’ captured classic Duran for the 21st Century. The superb sequencer assisted ‘Being Followed’ had a tingling metallic edge that captured the tensions of post 9/11 paranoia while songstress KELIS dreamily counterpointed on the moody, string laden ‘Man Who Stole A Leopard’ which recalled ‘The Chauffeur’. Nick Rhodes claimed the album was “undoubtedly one of the strongest of our career”; and he was right!
‘All You Need Is Now’ is available as a CD and download via Tape Modern
‘Interplay’ was possibly JOHN FOXX’s most complete and accessible body of work since his classic ‘Metamatic’. Together with Chief Mathematician and synth collector extraordinaire BENGE aka THE MATHS, the use of vintage electronics with modern recording techniques captured a mechanised charm while simultaneously adding a correlative warmth. Among the realised examples of this fresh approach were the feisty ‘Catwalk’, the electro-folkisms of ‘Evergreen’ and the eerie ‘The Running Man’. One of the stand-out tracks ‘Watching A Building On Fire’ featured Mira Aroyo of LADYTRON and was perfectly dystopian, while the title track and closer ‘The Good Shadow’ both added a subtle atmospheric quality to proceedings.
‘Interplay’ is available as a CD, LP and download via Metamatic Records
MAISON VAGUE’s ‘Synthpop’s Alive’ was one of the surprise albums of 2011 and the creation of Clark Stiefel, a German domiciled American with a love for all things Synth Britannia. A classically trained virtuoso who studied piano and electronic music at a conservatoire, his title track battle cry sounded like the result of an unlikely sexual liaison between DEVO and PLACEBO. Chunky riff laden tracks such as ‘Pixelated Lover’, ‘My Situation’, ‘Living On Ice Cream’ and ‘Give Them Away’ affectionately revived The GARY NUMAN Principle but for some variation, there were the marvellous BETTE MIDLER gone electro of ‘No Show’ and the reggae inflected ‘Tunnel Vision’.
‘Synthpop’s Alive’ is available as a download album via Stiefel Musik
Brighton pop-noir quartet MIRRORS’ only album ‘Light & Offerings’ was a seamless majestic journey swathed in layers of vintage electronics and modern rhythmical dynamics. It began with superb sonic pulsar of ‘Fear Of Drowning’ with its dramatic overtures of young manhood before continuing with reworked recordings of the band’s excellent first two singles ‘Look At Me’ and ‘Into The Heart’. The sublime ‘Hide & Seek’ was soulful electronic pop while ‘Ways To An End’ proved MIRRORS could cut it on the dancefloor too. Elsewhere, ‘Somewhere Strange’ took the listener on the most euphoric train ride since NEW ORDER’s ‘Temptation’ while the final track ‘Secrets’ was an ambitious ten minute epic in three movements featuring its own ambient parenthesis. MIRRORS were worthy successors to the original Synth Britannia generation, but they sadly fragmented in Autumn 2011 and all momentum was lost before things really could get going.
‘Lights & Offerings’ is available as a CD, 2LP and download via Skint Records
With the critically acclaimed ’Visions’, Montreal’s GRIMES aka Claire Boucher explored a hybrid style of electro influenced by K-Pop, New Age and R ‘n’ B. ‘Genesis’ was one of many kookily inventive tunes on the album and like its close cousin ‘Oblivion’, played with Kling Klang derived rhythm section that came over like LYKKE LI fronting KRAFTWERK. Often using pentatonic scaling to show her affinity towards South East Asian culture, GRIMES’ sumptuously infectious approaches made tracks such as ‘Be A Boy’, ‘Colour of Moonlight (Antiochus)’ and ‘Vowels = space and time’ an aurally challenging but rewarding listen. And all this while retaining a quirky sense of humour in her promo videos…
‘Visions’ is available as a CD, LP and download via 4AD Records
While technically a stopgap compilation of rare and unreleased MARSHEAUX tracks, the ‘E-Bay Queen Is Dead’ collection did provide a mostly cohesive listening experience. Including a plethora of non-album tracks such as ‘How Does It Feel?’, ‘Sadly’, ‘Fischerprice’ and the FRONT 242 influenced ‘Bizarre Love Duo’, MARSHEAUX’s charmingly delightful synthpop covers of THE HUMAN LEAGUE’s ‘Empire State Human’, BILLY IDOL’s ‘Eyes Without A Face’ and OMD’s ‘She’s Leaving’ were also largely present and correct. Meanwhile, two uptempo outtakes from the ‘Inhale’ sessions ‘Do You Feel?’ and ‘Inside’ indicated where their fourth album might have headed had MARSHEAUX’s national surroundings been less economically turbulent.
Although METROLAND have little in common with GIRLS ALOUD, they are indeed The Sound Of The Underground. While highly influenced by KOMPUTER and KRAFTWERK, the single ‘Enjoying The View’ indicated METROLAND were more textural in their use of synthetic sequences, robotic vocals and vintage drum machines. With tributes to London Underground map designer ‘Harry Beck’, Kling Klang homages such as ‘It’s More Fun To Commute’ and a cover version of IGGY POP’s ‘The Passenger’ that has to be heard to be believed, METROLAND’s soundtrack provided a ride through an electronic landscape designed for the commuter world.
‘Mind The Gap’ is available as a CD, deluxe 2CD and download via Alfa Matrix Records
Having worked together on the ‘Origin’ album, a side project between VILLA NAH’s Juho Paalosmaa and ace producer Jori Hulkkonen was almost inevitable. Under the moniker of SIN COS TAN, their debut album impressed with a rich filmic quality permeating amongst all the synths and drum machines in a much more mature approach than had been apparent on ‘Origin’. There was plenty of variation too, from the dark, atmospheric space ballad ‘In Binary’ and laid back electro R’n’B of ‘Book Of Love’ to the NEW ORDER styled dream attack of ‘After All’ and the almost Balearic ‘Calendar’. But true to form with Hulkkonen’s intelligent disco manoeuvres, the beat templates were complimentary and never overbearing. And with the sublime “disco you can cry to” closer of ‘Trust’, SIN COS TAN’s place in electronic music has been assured.
‘Sin Cos Tan’ is available as a CD, LP and download via Solina Records
A release that actually slipped under TEC’s radar on initial release, TRUST was the project of Robert Alfons and AUSTRA’s Maya Postepski. Although Postepski left after its release to return to AUSTRA, ‘TRST’ made a slow burning impact as Alfons toured his “Eeyore gone goth” electro template around the world. The filthy ‘Gloryhole’ was a wondrous combination of portamento and dance beats, while ‘Bulbform’ was perfectly doomy disco. There were more immediate moments too like the trancier synthscapes of ‘Sulk’ and the alternate Euro-disco of ‘Dressed In Space’ which came over like a more depressed version of CAMOUFLAGE. In all, ‘TRST’ was one grower of a record.
‘TRST’ is available as a CD, LP and download via Arts & Crafts
‘Brilliant’ reminded people why the classic line-up of ULTRAVOX were supreme when firing on all cylinders. It also laid to the rest, the ghost of the dreadful ‘U-Vox’ album in 1986. The title track and ‘Live’ contained all the hallmarks of Billy Currie’s Eurocentric piano and synth embellishments complimented by the motorik power house of Chris Cross and Warren Cann while Midge Ure’s voice now possessed a fragility and honesty that could only come from life experience. Then there was the pounding electronic rock of ‘Satellite’ and the percolating sequences of ‘Rise’ which saw the return of Currie’s distinctive ARP Odyssey soloing. The whirring Odyssey also appeared on ‘Change’ with beautiful ivory runs over the shuffling schlagzeug. ‘Brilliant’ was proof than while Billy Currie needed Midge Ure, Midge Ure also needed Billy Currie.
‘Brilliant’ is available as a CD, 2LP and download via EMI Records
If people can still hold enough regard for a version of KRAFTWERK featuring just Ralf Hütter to crash the websites of the world’s art spaces, then KARL BARTOS should at least be accorded some kind of equal status. After all, Bartos did co-write ‘The Model’, ‘The Robots’, Neon Lights, ‘Numbers’ and ‘Computer Love’. Utilising musical sketches and ideas gathered during his period with KRAFTWERK and his later project ELEKTRIC MUSIC, ‘Off The Record’ was a fully realised recording with Kling Klang at its heart. Indeed, ‘Without A Trace Of Emotion’ saw Bartos conversing with his showroom dummy Herr Karl and confronting his demons. The punchy ‘Rhythmus’ revisited ‘Numbers’ and ‘Computer World 2’ while the wonderful ‘Hausmusik’ had its clanking core driven by the type of mechanised backbeat heard on the ‘Autobahn’ and ‘Radio-Activity’ albums. Even using ideas gathered prior to 1996, KARL BARTOS produced a classic but modern electronic pop album.
‘Off The Record’ is available as a CD, LP and download via Bureau B
BEF Music Of Quality & Distinction Volume 3 – Dark (2013)
The third instalment to Martyn Ware’s ambitious BEF covers project, amongst its fourteen tracks was some of his most overtly electronic work since he was in THE HUMAN LEAGUE. Kim Wilde’s brilliant opener ‘Every Time I See You Go Wild’ used just a Roland System 100 while the GIORGIO MORODER meets SPACE electro disco of ‘Same Love’ featuring David J Roch was another highlight. Other notable vocalists included ERASURE’s Andy Bell on an eerie take of ‘Breathing’, POLLY SCATTERGOOD’s kooky vocal on ‘The Look Of Love’ and CULTURE CLUB’s Boy George whose interpretation of ‘I Wanna Be Your Dog’ possessed a previously unheard grouchy edge. But it was a slowed down waltz remake of ASSOCIATES’ ’Party Fears Two’ voiced by HEAVEN 17’s Glenn Gregory that virtually stole the show and brought the hankies out.
‘Music Of Quality & Distinction Volume 3 – Dark’ is available as a CD, deluxe 2CD and download via Wall Of Sound
Like it or not, CHVRCHES have managed to attain a mainstream recognition that was denied to MIRRORS, thus furthering the cause of electronic pop worldwide. And in Lauren Mayberry, they have a sweet voice that counterbalances some of the harsher aural aesthetics that come with using Moog and her sisters. This album was full of quality synthpop with excellent songs such as ‘The Mother We Share’, ‘Science / Visions’, ‘Gun’, ‘Lies’ and ‘Recover’. However, an otherwise great debut was spoilt by Martin Doherty’s dreary blokey ramblings on ‘You Caught The Light’ and ‘Under The Tide’… and with the far superior ‘Now Is Not The Time’ sitting on the B-side bench, it is this type of noted Glaswegian bloody mindedness that will be the Achilles’ Heel to this trio achieving further success.
‘The Bones Of What You Believe’ is available as a CD, LP and download via Virgin Records
While claims that FEATHERS were the female DEPECHE MODE may have perhaps been overstated, ‘If All Now Here’ was an impressive opening gambit that actually came over more like THE BANGLES fronting Basildon’s finest. Essentially the one woman project of Anastasia Dimou, she successfully combined harmonies, dystopia and deserts for some dreamy electronic soundscapes. ‘Land Of The Innocent’ was a wondrous epic based around the arpeggio of ‘Ice Machine’ while ‘Soft’ borrowed from the single mix of ‘Behind the Wheel’, but added an enlightening pop sensibility. Of course the raunchier, bluesier side of DM revealed itself on ‘Fire In The Night’ and ‘Believe’, but in ‘Dark Matter’, there was a tune with a Latino dancefloor heart, but reimagined by NITZER EBB! Opening for DEPECHE MODE on the winter 2014 leg of the ‘Delta Machine’ tour completed the circle.
Named after the cult Italo standard, FOTONOVELA’s sophomore album ‘A Ton Of Love’ was conceived as a supreme electronic record featuring vocalists from all stages of classic synthpop, as a homage to the genre. As a sign of their ambition, the first person they approached was OMD’s Andy McCluskey and the sessions went well… so well, that the resultant number ‘Helen Of Troy’ ended up on OMD’s ‘English Electric’ opus instead! With FOTONOVELA’s tracks being coveted by their heroes, it boded well for the remainder of the album. With a cast that included SECTION 25, KID MOXIE and MARSHEAUX, the quality was maintained and several cases, even exceeded. In particular, ‘Our Sorrow’ featuring MIRRORS’ James New captured the essence of classic OMD with a spirited, majestic vocal while ‘Justice’ found DUBSTAR’s Sarah Blackwood in particularly feisty form. The presence of some of the most distinct voices in electronic pop music made ‘A Ton Of Love’ a fine showcase for one of best production teams in Europe.
‘A Ton of Love’ is available as a CD and download via Undo Records
With LADYTRON in hiatus, Helen Marnie set out “to create an electronic album with more of a pop element and pristine vocals” for her first solo record. Vocally and musically expansive like an Arctic escapist fantasy, this objective was achieved with ‘Crystal World’ with the classic pop of ABBA and MAMA CASS obviously apparent as well as MARNIE’s love of fellow weegies CHVRCHES. The brilliant launch single ‘The Hunter’ was the vibrant electropop single that LADYTRON never quite got round to releasing while there were other shining jewels like ‘Hearts On Fire’, ‘We Are The Sea’, ‘High Road’ and ‘Sugarland’. Meanwhile, ‘The Wind Breezes On’ was MARNIE’s own ‘Love Is A Stranger’ while the neo-acappella ‘Laura’ sat as a lush centrepiece to the collection.
‘Crystal World’ is available as a CD, LP and download via Les Disques Crespuscle
MESH’s danceable electro-rock ambitions became fully realised on ‘Automation Baby’. The lead single ‘Born To Lie’ was a brilliantly aggressive slice of Goth glam while in ‘Taken For Granted’, MESH had their own ‘Never Let Me Down Again’. ‘Just Leave Us Alone’ added some trancey dressing to the classic MESH template but it was the atmospheric maturity of the album’s ballads that were the big surprise. The beautiful ‘It’s The Way I Feel’ showed a more sensitive side with hints of ENNIO MORRICONE while ‘Adjust Your Set’ displayed some subtle traits despite its mechanical rhythms. But with the aptly titled ‘You Couldn’t See This Coming’, this orchestrated epic saw Mark Hockings’ passionate angst exposed for all. With the sonic balance bolstered by additional strings to MESH’s bow, ‘Automation Baby’ was undoubtedly the best album of their career to date.
‘Automation Baby’ is available as a CD and download via Dependent Records
On ‘Innocents’, MOBY’s familiar chord changes and sweeping string synths were all present and correct. But this was an adventurously beautiful work tinged with emotion, sadness and resignation that explored mid-life and mortality. Damien Jurado’s sensitive vocal on ‘Almost Home’ provided a marvellous slice of folktronica while Skylar Grey’s angelic voice on ‘The Last Day’ provided a beautiful innocence over the looping male gospel sample. One of the key moments of the album was ‘The Perfect Life’, an enjoyable duet by MOBY with FLAMING LIPS’ Wayne Coyne that came over bizarrely like GARY NUMAN at a Pentecostal church! With an elegiac tension, MOBY described parts of ‘Innocents’ as “nostalgic futurism”… it was also soothing electronic soul.
‘Innocents’ is available as a CD, deluxe 2CD, 2LP and download via Little Idiot
In 2013, Andy McCluskey and Paul Humphreys finally released the album that many had been wanting since 1984. ‘English Electric’ was a brilliant concept album that encompassed the mantra “what does the future sound like?” The reality of unfulfilled dreams and impending mortality lingered on ‘Metroland’ and ‘Night Café’ while ‘Dresden’, ‘Helen Of Troy’ and ‘Final Song’ used clever metaphors for tales of relationship breakup. However, the magnificent ‘Our System’ did what OMD always did best, with an emotive soundtrack about the universe while ‘Kissing The Machine’, McCluskey’s collaboration with KARL BARTOS from 1993, was given some appropriate Synth-werk. And there was the return of the Paul Humphreys vocal on the very personal ‘Stay With Me’, a melodic ditty that was up there with ‘Souvenir’.
‘English Electric’ is available as a CD, deluxe CD/DVD, LP and download via BMG Music
Laced with House, Italo and Eurotrance references, ‘Electric’ took a few risks with the opening track ‘Axis’ being virtually instrumental, re-imagining Bobby Orlando in the 22nd Century. The brilliantly titled ‘Love Is A Bourgeois Construct’ recalled the pomp of ‘I Wouldn’t Normally Do This Kind Of Thing’ but then came the hypnotic ‘Fluorescent’. Basically a wonderful dancefloor makeover of ‘Fade To Grey’, waves of synth sirens attacked like a Martian invasion. Meanwhile, ‘Thursday’ re-explored the New York club scene with the distinctive squelch of a TB303 and captured the vibrant excitement of what is now the new Friday. The slightly berserk ‘Shouting In The Evening’ was a slice of “banging” techno before the comparatively conventional ‘Vocal’. With the vivid sentiment “I like the singer, he’s lonely and strange – every track has a vocal…and that makes a change”, it was a befitting conclusion of what this album was about; ‘Electric’ by name and electric by nature.
‘Electric’ is available as a CD, LP and download via X2 Recordings
Anglo-German collective TWINS NATALIA captured a pristine technostalgic journey through a Europe of real life and postcard views on ‘The Destiny Room’. A wonderfully emotive soundtrack of elegance and decadence with a touch of neu romance, the collection’s main act began with the gorgeously arpeggiated ‘Destiny’. Then there was the more frantic HI-NRG romp of ‘I Avoid Strangers’, while the PET SHOP BOYS styled neo-orchestrated statement of ‘Set Love Free’ climaxed like a pomped up ‘Rent’. As an appendix, there was also the superb debut single ‘When We Were Young’ b/w ‘Kleiner Satellit’ which first appeared in 2008. With rich, vibrant soloing from Dave Hewson on a Roland Jupiter 6 throughout, ‘The Destiny Room’ was perfect listening electronic music enthusiasts of a time when people actually played synths and explored the capabilities of their drum machines.
Three years in the making, ‘The future through a lens’ was well worth the wait. While not as immediate as the tracks on the preceding three EPs made available for their German tour supporting OMD, the album itself took a more esoteric, filmic approach. Like ‘Twin Peaks’ meets ORBITAL, ‘Damaged Software’ was an enticing piece of electro while ‘Drowned Cities’ was an enticing entry point following the title track overture. Both the pulsating ‘Proximity’ and the moody ‘Nothing’ grew with further listens. But with the closing ‘Deep Red’, it took all that was great about early OMD, putting ‘Statues’, ‘Stanlow’ and ‘The Romance Of The Telescope’ into a breathtaking seven and a half minute epic. This full length debut impressed enough for VILE ELECTRODES to snap up two Schallwelle awards in Germany for ‘Best International Album’ and ‘Best International Band’ in 2014.
‘The future through a lens’ is available as a download via Vile Electrodes, CD and cassette package available at http://vileelectrodes.bigcartel.com/
Techno DJ WESTBAM celebrated 30 years in the music business with an intriguing mature collection of songs under the title of ‘Götterstrasse’. While the theme of the album centred on the joy and euphoria of underground nightlife, the magnificent launch single ‘You Need The Drugs’ voiced brilliantly by THE PSYCHEDLIC FURS’ Richard Butler was not actually a celebration of illicit substance use. It was an album full of surprises like the dramatic ‘Kick It Like A Sensei’ with rapper LIL WAYNE and the tensely militaristic ‘Iron Music’ featuring the distinctive baritone of IGGY POP. Meanwhile, ‘She Wants’ saw the return of NEW ORDER’s Bernard Sumner on a new electronic dance composition and the frantic but serene ‘A Night to Remember’ with THE STRANGLERS’ Hugh Cornwall brought proceedings to a euphoric come down via some piano and Solina strings.
‘Götterstrasse’ is available as a CD and download via Warner Music
The transformation of Glaswegians ANALOG ANGEL has been startling. Moving away from their industrial shackles, they came up with a largely excellent collection of quality synthpop in ‘Trinity’. ‘Drive’ was a haunting drama about domestic violence that was given extra poignancy by a ghostly guest vocal by Tracy J Cox. There was also the frantic ERSAURE on Stella Artois of ‘The Chase’, the rousing schaffel stomp of ‘Round Again’ and the refined CAMOUFLAGE meets VANGELIS atmospheres of ‘Inner Voice’. But the biggest surprise was ‘The Last Time’, a cinematic masterpiece involving an orchestra that cascaded into an epic Pan-European journey across The Steppes. The virtual symphonic strings and gothic choirs gave an indication as to what OMD might have sounded like if Jim Steinman had been producing!
After the promise of the ‘Bounty’ and ‘Kin’ collections, ‘Blue’ fully realised the potential of IAMAMIWHOAMI, the slightly bonkers moniker of delightfully odd vocalist Jonna Lee and producer Claes Björklund. Expanding on the audio / visual template of its predecessors, the first impression of ‘Blue’ is that it is more of the same. But like fine wine, this album gets better with age. The windy breeze of glacial Scandinavian beauty immerses itself on tracks like the sub-COCTEAU TWINS ‘Fountain’, the ABBA-like ‘Chasing Kites’ and the closing reverberant mood piece ‘Shadowshow’. But it is the more uptempo danced based numbers like the mutant techno of ‘Ripple’ and the KATE BUSH gone trance of ‘Hunting For Pearls’ that show the most advancement. Jonna Lee’s otherworldly rasp does polarise but once overcome, the sonic rewards can be startling.
RÖYKSOPP’s final album took five years but it ultimately benefitted the outcome. ROBYN returned for a shorter, sharper version of ‘Monument’, but her thunder was stolen by some supreme vocal performances by SUSANNE SUNDFØR and Jamie McDermott from THE IRREPRESSIBLES. ‘Save Me’ and ‘Running to The Sea’ reinforced why the former is the Nordic vocalist of the moment, while the latter’s contributions to ‘You Know I Have To Go’ and ‘I Had This Thing’ showed how modern electronic dance music can be both vibrant and heartfelt. Only the pointless profanity laden ‘Rong’, ironically featuring ROBYN, stopped ‘The Inevitable End’ from achieving perfection.
‘The Inevitable End’is available as a 2CD, 2LP and download via Dog Triumph / Cooking Vinyl
The ULTRAVOX reunion had a profound effect on the diminutive Mr Ure if nothing else and got him to fully focus on the solo album he’d been working on since 2001. The time that passed was worth it; songs like ‘Become’ recalled his work with VISAGE while the title track revealed that despite the moustache and long raincoat back in the day, he’d always wanted to be in PINK FLOYD. Meanwhile, instrumentals such as ‘of ‘Wire & Wood’ and ‘Bridges’ showed that Ure’s music still has subtlety. But the undoubted highlight of ‘Fragile’ was ‘Dark, Dark Night’, a co-write with MOBY. The song built to an amazing climax with the follically challenged pairing forming a partnership made in heaven. Overall, the album was an impressive musical diary of a man pondering and confronting his post-midlife.
‘Fragile’ is available as a CD, LP and download via Hypertension Music
The profile of Norwegian singer / songwriter / producer Susanne Sundfør is probably at its career zenith right now, thanks to some quality collaborations with a number of high profile friends. Her last album ‘The Silicone Veil’ in 2012 was her UK debut and saw her experimenting more within electronica.
Since then, there has been her epic guest lead vocal on M83’s ‘Oblivion’ for the theme song of the same titled Tom Cruise film, as well as key appearances with fellow Norwegians RÖYKSOPP and Swedish producer KLEERUP.
And that’s without mentioning her remix of MAPS’ single ‘AMA’, and production work for BOW TO EACH OTHER on their debut album ‘The Urge Drums’. This all sets the scene nicely for Susanne Sundfør’s new, eagerly anticipated solo album ‘Ten Love Songs’.
Largely self-produced, it is to an extent, a concept album: “To me, love isn’t always what it seems” she said, “When I first started to work on the album, I wanted to make an album about violence, and then, as I was writing the songs, there were violent aspects, but they were usually about love or relationships, how you connect with other people. And in the end, that turned out to be 10 love songs”.
‘Ten Love Songs’ also sees a move towards pop as Sundfør explained: “I wanted to be more mainstream. Not in the sense of the sound, but in terms of expression. There is something about pop songs that, to me, hits me more than any other types of song do. I’ve been a sucker for pop music since I was a little girl, and I’ve always wanted to make a pop record. So I guess this is my attempt!”
But although there are tunes, this is not exactly Taylor Swift’s ‘1989’ and ‘Ten Love Songs’ is still very much a compelling and tense leftfield record. This is best exemplified by the wonderful launch single ‘Fade Away’. A three minute Nordic Noir drama with fabulous vocal layers, pulsing electronics and a terrific polyphonic synth solo that Sundfør says was inspired by QUEEN, there are rousing, almost gospel like qualities that set the tone for the album.
However, it all begins like a short church service with ‘Darlings’ where a harmonium accompanies Sundfør’s mournful vocal, lamenting about the hopes and fears of love with that Nordic gospel flavour which was hinted at on ‘Fade Away’. “So, it’s definite, then…” announces Sundfør as she ponders the impending emotional gloom.
Photo by Luke Gifford
Hints of DEPECHE MODE’s spiritual longing also emerge so when ‘Accelerate’ kicks in, it sounds exactly what the Basildon boys SHOULD be doing today musically.
In collaboration with BIG BLACK DELTA, solemn synths with a haunting Cold War spectre linger before a detour into some rumbling rhythmic aggression, the combination of live drums and machines providing a magnificent rhythmic surrealism.
Sundfør’s voice is resigned one moment, then vicious the next. The chorus turns into a widescreen assault before some baroque organ interludes into the piercing climax.
The semi-acoustic ‘Silencer’ begins sparsely but when strings by the TRONDHEIMSOLISTENE chamber ensemble appear, things beautifully build like an Ennio Morricone soundtrack for a glacial Spaghetti Western with a Fjord as the scenic backdrop. ‘Kamikaze’ has a similar sparse introduction but then launches into a loose four-to-the-floor stomp. There’s stabs of spacey synths, gunshots and war noises before a sudden harpsichord break for the conclusion… it is this kind of bizarre musical jigsaw puzzle that makes ‘Ten Love Songs’ such a fascinating experience that continually asks the question: “what’s next?”.
And what’s next is the album’s ambitious ten minute centrepiece ‘Memorial’ which sees Sundfør’s partnership with M83 revisited. Again featuring strings by TRONDHEIMSOLISTENE, the tone is neo-classical in the mould of MUSE, but this is not surprising as the track was inspired by QUEEN; “I love Queen, and Freddie Mercury” Sundfør said, “I saw Live Aid when I was about 18, they broadcast it on one of the channels in Norway and I was just sucked towards the screen when he came on stage. His charisma was insane”.
In three distinct movements, Sundfør’s soaring vocal takes a breather for the middle section as a piano and orchestra take the limelight. ‘Memorial’ is a beautiful mini-drama and her cry of “You are heartless cos you took off my dress, and you never put it on again” captures an exposed and haunting vulnerability. These kinds of heartfelt theatrics have been attempted before by Sundfør on tracks like ‘Meditation In An Emergency’ from ‘The Silicone Veil’ or ‘Walls’ from her self-titled debut, but not all together on this grand a scale.
Despite an eerie, droning intro with echoes of THE WALKERS BROTHERS’ ‘The Electrician’, second single ‘Delirious’ thunders with some hard-edged electronics bolstered by more strings, coming over like THE KNIFE meeting DEPECHE MODE. With her moving vocal vibrato, our heroine announces “I’m not the one holding the gun”… this is love as a reluctant battle.
Things calm a little with ‘Slowly’, probably the most classic Scandipop song of the collection. Digital claps also give the track a more vintage feel but although comparatively lighter to the rest of ‘Ten Love Songs’, it is still richly swathed in melancholy.’Trust Me’ exposes more of Sundfør’s heartache as the sombre harmonium of ‘Darlings’ makes a return in a development of the opening track while she snarls “you cannot replace me…”
Photo by Sofia Fredrick Sprung
So with sinister swirls and a frantic techno rattle to finish, ‘Insects’ possesses a dark finality that is more aggressive than anything else the album.
As the machine gun drums attack, unsettling air raid sirens soundtrack an impending apocalypse. It is said that only insects will survive a nuclear holocaust, so this is a stark consequential reminder of what could happen in a world without love.
‘Ten Love Songs’ is one of those artistically accomplished albums that grows and gets better with each listen. Some components maybe unconventional, but the end results are still songs and therefore accessible in many ways. Accessibility is something THE KNIFE moved away from in their quest for experimentation… Susanne Sundfør though has successfully married the avant and pop approaches for an emotive commentary on the human condition.
“It is very taboo to be a vulnerable person” she concedes, “It’s almost like the biggest weakness today is to be a human being, because everything around us is about perfection, as if we’re trying to be like robots… If I listen to music or read books where people are saying ‘I’m very human, I feel a lot of things, bad things, good things’, that’s what touches me.”
With thanks to Debbie Ball at Create Spark
Quotes by Susanne Sundfør from the ‘Ten Love Songs’ album biography by Dan Cairns
‘Ten Love Songs’ is released on 16th February 2015 by Sonnet Sound via Kobalt in CD, vinyl and download formats
With a less intense release schedule than last year, it was a bit more straightforward to choose the songs of 2014.
Whereas 2013 had a short list of 45 songs, 2014 was closer to 35 although not the struggle to find 30 as was the case in 2012. So just missing out are CLIENT, KLEERUP and ToddTerje featuring Bryan Ferry, although not by much.
As usual, they are listed in alphabetical order and all have been released either in physical formats, or digitally as purchasable or free downloads during the calendar year. Thus although the excellent video for LIEBE’s ‘I Believe In You’ gained traction on MTV Europe in 2014, the song was actually released in 2013.
Tracks which are exclusive to streams, videos or DJ only promos are also not included; so QUIETER THAN SPIDERS ‘The Land Of Lost Content’ is not eligible. Limited to one song per artist moniker, here are the 30 Songs of 2014…
ANALOG ANGEL The Last Time
The transformation of Glaswegians ANALOG ANGEL in the last 18 months has been startling. From their third album ‘Trinity’, its closer ‘The Last Time’ was a big surprise, featuring a cinematic arrangement involving an orchestra cascading into an epic Pan-European journey heading eastwards. Recalling THE SISTERS OF MERCY’s ‘This Corrosion’, the virtual symphonic strings and gothic choirs gave an indication as to what OMD might have sounded like if Jim Steinman had been producing!
‘Scream’ launched Margaret Berger’s first album ‘New Religion’ since 2006’s ‘Pretty Scary Silver Fairy’ although as yet, the new opus has yet to emerge. The Norwegian Idol finalist effectively revived her career with ‘I Feed You My Love’ which came fourth in Eurovision 2013. ‘Scream’ saw her continuing the Robyn meets DEPECHE MODE template of her Eurovision smash and possessed an inherent industrialised darkness in an approach to quality pop that set itself apart.
Available as a download single via iTunes Norway through Macho Records
The original first lady of cinematic electronic pop surprised everyone when she appeared on the cover of her third album ‘Where Else…’ with a guitar strapped to her back. But while the record had a folk and blues influence, the synthesized textures that Ms Brücken has been best known for were still very much part of the package. The launch single ‘Nevermind’ could be seen as a musical reply to OMD’s ‘Stay With Me’. A lovely mix of electronics and acoustic, she appears to be driven by a new artistic zest.
Available on the album ‘Where Else…’ via Cherry Red Records
DAVIDGE is best known for his work with MASSIVE ATTACK and has been involved in game and film soundtracks for many years. His first solo album ‘Slo Light’ was an impressive debut, containing many of the elements that marked his work with the Bristolian triphoppers. ‘Sleepwalking’ was a haunting number beautifully voiced by Eim Green which recalled the ethereal quality of COCTEAU TWINS’ Elizabeth Fraser and the electronically assisted Weimer Cabaret of ‘Felt Mountain’ era GOLDFRAPP.
Available on the album ‘Slo Light’ via 7Hz Recordings
Following the disappointment of 2011’s FRANKMUSIK driven ‘Tomorrow’s World’, ‘The Violet Flame’ produced by Richard X saw ERASURE express an infectious zest for the future. The songs began with pre-recorded dance grooves from Vince Clarke as represented by the euphoric opening track ‘Dead Of Night’. The best number from the package turned out to be a ballad remixed by Paul Humphreys who added some of the beautiful Synth-Werk magic that characterised OMD’s ‘English Electric’ to ‘Be The One’.
Available on the boxed set edition of ‘The Violet Flame’ via Mute Artists / Pledge Music
Released in time for their DEPECHE MODE support tour in Europe, ‘Wild Love’ was far more dance-oriented than anything FEATHERS attempted on their debut album ‘If All Now Here’. While a heavy beat dominated, the essential component of a song remained, building to a suitably epic chorus providing that euphoric lift. The gated trance elements in the second chorus were a particular highlight, especially when backed by a screeching falsetto counterpoint. But just as it got going, it faded out!
The moniker of Elizabeth Bernholz, GAZELLE TWIN has acquired an impressive host of admirers including John Foxx, Gary Numan and Clint Mansell. Her second album ‘Unflesh’ has allowed the Brighton based songstress to extract her demons with some artistic violence. One of the highlights ‘Exorcise’ was an impressively aggressive cross between PINK FLOYD’s ‘One The Run’ and KRAFTWERK’s ‘Home Computer’. Its uneasy resonance was aided by Bernholz’s harsh, deadpan commentary.
Available on the album ‘Unflesh’ via Anti-Ghost Moon Ray
This mysterious combo with their lo-fi noise and motorik beats have revealed a series of energetic singles over the past two years including ‘Jessica 6’, a frantic salvo sounding like THE PIPETTES fronting an OMD assisted JOY DIVISION. But GIRL ONE & THE GREASE GUNS revealed a much softer side with ‘No Longer Spellbound’. With its beautiful atmospheric quality smothered in icy synth strings and grainy vox samples, if ‘Twins Peaks’ had been set in The Lake District, then the theme tune might sound a like this.
Available on the download EP ‘No Longer Spellbound’ via Squirrel Records
HERCULES & LOVE AFFAIR feat JOHN GRANT I Try To Talk To You
Imagine Jim Morrison getting it on down at The Danceteria circa 1982! ‘I Try To Talk To You’ featuring the expansive baritone vocals of John Grant combined the best of classic New York electro disco and grand piano theatrics with an emotively soulful vocal. The courageous lyrics found Grant recalling when he discovered he was HIV positive. “I asked John to dig deep with his lyrical contribution” recalls HERCULES & LOVE AFFAIR mainman Andy Butler, “I had no idea he would dig so deep”.
Available on the album ‘The Feast Of The Broken Heart’ via Moshi Moshi
‘I Can’t Figure You Out’ sounds like another product of Scandinavia but in fact, HUGH hail from South London. The captivating, naive lead vocal from Izzy Brooks states “you know just how I feel” as she makes handle with care pleas like “don’t toy with me” and “careful with my heart” while the intensity builds like a pressure cooker. And this is all before a time signature change and some frustrating despair is released with her spirited jazzy refrain of “No, I can’t figure you out!” Now, who hasn’t been here before?
Available on the download EP ‘I Can’t Figure You Out’ via Hughlovehugh
IAMAMIWHOAMI, the electronic multimedia project fronted by Jonna Lee and produced by Claes Björklund returned with their second opus ‘Blue’. ‘Hunting For Pearls’ featured wonderfully pulsing sequences and trancey atmospheres, coupled with a beautifully rich vocal from Lee. With a mysterious falsetto reach, the air may be cold outside but inside, things are warm. If Kate Bush made a modern electronic dance record at ABBA’s Polar Studios, it would probably sound like this.
Available on the album ‘Blue’ via towhomitmayconcern
Deep from within the Adirondack Mountains comes the beautifully gentle electronica of I AM SNOW ANGEL. The self-produced vehicle of singer / songwriter Julie Kathryn, the music evokes images of icy landscapes and crystalline hydro basins. The best track from her debut EP, ‘Let Me Go’ is rich in understatement and a Nordic styled tour de force swathed in melancholy, full of dreamy escapism. The full length album ‘Crocodile’ released in the Autumn did not disappoint either with its quietly subversive nature.
Available on the download EP ‘I Am Snow Angel’ via Amazon
With a breathier, more continental direction towards cinematic pop, The Kid effectively grew up with her second album ‘1888’. KID MOXIE’s widescreen soundscapes and dreamy demeanour saw a much more focussed work. ‘Lacuna’ means “an empty space” yet this song is filled with an enigmatic mystery as Elena Charbila applied some of the je nais se quoi first piloted on 2008’s ‘La Romance D’Hiver’ to the drifting, almost abstract electronic soundscape… and then there’s the pretty isolated piano ending!
Available on the download album ‘1888’ via Undo Records
Having delivered one of the best synth based debut albums in recent years, any new Kleerup recording now lives with a high degree of expectation. ‘Let Me In’ featuring Susanne Sundfør, who voiced several tracks on RÖYKSOPP’s ‘The Inevitable End’ album, came over like Karin Park if she had joined latter day ROXY MUSIC. Retaining the original appeal of Kleerup’s debut, ‘Let Me In’ was brilliantly classic and yet modern with its more organic template and even funky template.
Available on the download EP ‘As If We Never Won’ via Warner Music
MACHINISTA’s pairing of John Lindqwister and Richard Flow specialise in synthpop with a rock’n’roll edge. Their best offering from their debut album ‘Xenoglossy’ was the schaffel propelled ‘Pushing The Angels Astray’. Despite discussing the spectre of immortality, the sombre aura was balanced with a marvellous melodic line and fabulous chorus like ALPHAVILLE in their prime. The Nordic region continually shows how electronic music is done and many could do a lot worse than to observe how MACHINISTA go about their craft.
Available on the download album ‘Xenoglossy’ via Juggernaut Music Group
Released in the week of the Scottish Independence Referendum, MARNIE’s ‘Wolves’ was an appropriately soaring anthem “for anyone that doesn’t believe in sticking with the status quo, for anyone who has the heart to try and make a difference”. Certainly, the positive response she received for her debut long player ‘Crystal World’ and a return to her homeland has no doubt inspired her own independence. But with MARNIE due to release a second solo album in 2015, what does this all mean for LADYTRON?
Available as a download single via Les Disques du Crépuscule
‘Trans Europe Express’ 21st Century style as Belgium’s favourite passengers METROLAND embarked on a maroon coloured rail journey through France and Germany via the Benelux basin on ‘Thalys’. The full length 11 minute version rhythmitised metal on metal while there were also London, Paris and Düsseldorf edits in this musical tie-in with the Thalys high speed train operator.
Available on the download EP ‘Thalys (London)’ via Alfa Matrix
Frisky vocalist Emily Kavanaugh and moody producer Mark Brooks began writing songs as NIGHT CLUB with the goal of creating dark – yet commercially accessible – synthpop. Developing on the Britney gone electro goth sound of their glorious 2013 single ‘Poisonous’, ‘She Wants To Play With Fire’ treaded on the darker, sleazy side of life and dysfunctional relationships with Kavanaugh out to take on her demented love rival.
Available on the download EP ‘Black Leather Heart’ via Gato Blanco
Issued as a trailer for her new album ‘Apocalypse Pop’, ‘Look What You’ve Done’ is a feisty development of ‘Restless’ from Karin Park’s previous album ‘Highwire Poetry’. Wrestling within a fiery glam schaffel and a catchy chorus like an angry GOLDFRAPP, with THE KNIFE venturing into more uncompromising climes, the ‘other’ Karin ably fills the void now left vacant by the Drejers in avant pop. ‘Look What You’ve Done’ is a fine example of the Swede’s ambition to fit into both pop and experimental worlds.
Available as a download single via State Of The Eye Recordings
With LITTLE BOOTS having gone dance and LA ROUX veering away from synthpop, there is now a vacancy for a new kooky homegrown female synth talent. One of the possible candidates is PAWWS, otherwise known on her passport as Lucy Taylor. She has labelled her music “upsetting disco” and ‘Give You Love’ lives up to that description. Certainly those who prefer their music with rough edges and are averse to female fronted synthpop will have their touch paper lit even further with this exquisite pop number.
Available on the download EP ‘Sugar’ via Best Fit Recordings
Since playing with John Foxx, Hannah Peel’s own music has used more electronics alongside her beloved violin, musicbox, piano and trombone. ‘Fabricstate’ starts as a beautiful understated number before being bolstered by an unexpected but amazing whirring synth solo around a series of percussive clusters. When the warmth of the synthesizer is exploited and coupled with a classically trained background, the hybrid can result in a quietly subversive organic and technological fusion.
Available on the download EP ‘Fabricstate’ via My Own Pleasure
One musician taking electronic music into some intriguing fusions is Beijing born Fifi Rong. ‘Next Pursuit’ crosses the vocal mystery of Kelli Ali and the quirkiness of MOLOKO while throwing in a touch of Lana Del Rey and MAZZY STAR too. Crucially, the intriguingly soulful ‘Next Pursuit’ also adds in rhythmical variation as the rhythms click into action during the higher register vocal refrains while the verses are held together with a smokey allure.
Available on the download EP ‘Next Pursuit’ via Ditto Music
ROBYN & RÖYKSOPP Monument (The Inevitable End Version)
Edited and rethought for ‘The Inevitable End’ album, ‘Monument’ was originally a spacey 10 minute epic now tightened to a more bite size and dare one say it, more enjoyable format sans saxophone over a hypnotic two chord structure. As usual, Robyn’s vocals are edgy and nonchalant while RÖYKSOPP’s electronic soundtrack ably hit the spot with its energized octave-jumping bassline.
Available on the album ‘The Inevitable End’ via Dog Triumph / Cooking Vinyl
With their third album in as many years, Finnish duo SIN COS TAN went the concept album route for ‘Blown Away’, a midlife crisis story of a man who becomes a drug courier and goes on a journey of excess, fast money and hedonism. First single ‘Love Sees No Colour’ dressed NEW ORDER’s love technique in an OMD stylee with the result being a kaleidoscopic tune that managed to mix sunshine with melancholy.
Available on the album ‘Blown Away’ via Solina Records
The Nordic vocalist of the moment has to be Susanne Sundfør who has worked with M83 and Kleerup. But she is probably best known for her work with fellow Norwegians RÖYKSOPP. Propelled by a pulsing electronic backbone, ‘Fade Away’ from Sundfør’s forthcoming album ‘Ten Love Songs’ sees her in rousing form with a tune that at times sounds almost like Scandinavian gospel. Meanwhile, a fabulous synth solo gets thrown into the bargain too.
Available as a download single via Sonnet Sound / Kobalt
One act establishing themselves in 2014 were TRUST from Toronto. Led by the polarising “Eeyore gone goth” moodiness of Robert Alfons, the ironically titled ‘Joyland’ was a excellent second album that captured the sleazy nature of a 21st Century SOFT CELL and attached it to the grumpiness of LEONARD COHEN. ‘Peer Pressure’ was a frantic but funky uptempo number featuring Alfon’s trademark vocal pitch shift technique that proved misery and dancing could actually go together.
Available on the album ‘Joyland’ via Arts & Crafts
Touchingly melancholic with classic Weimar Cabaret melodies and vibrant Kling Klang interplay, TWINS NATALIA conjured up memories of holiday romances with pretty German frauleins and flirty French mademoiselles. Debut long player ‘The Destiny Room’ was many years in the making and did not disappoint. With the PET SHOP BOYS styled neo-orchestrated statement of ‘Set Love Free’, the song theatrically climaxed like a pomped up ‘Rent’ as a wonderful slice of joie de vivre to finish the main act.
Available on the album ‘The Destiny Room’ via Anna Logue Records
While the romantically uptempo ‘Become’ was inevitably the focal point of Midge Ure’s ‘Fragile’ album, there were other songs that were easily its equal. The most notable of these was ‘Dark, Dark Night’, an online collaboration with Moby. Though derived from ‘Rockets’ on Moby’s ‘Destroyed’ opus, Ure exploited the original’s rich symphonic string sounds and chilled vibes. Building to an amazing climax with melodic screeches and a tremendous guitar solo from Ure, this was a partnership made in heaven.
Available on the album ‘Fragile’ via Hypertension Music
VILE ELECTRODES capitalised on their profile from supporting OMD’s German tour in 2013 by snaring prestigious Schallwelle Awards for Best International Act and Best International Album for their debut ‘The future through a lens’. ‘Pandora’s Box’ was an excellent previously unreleased song full of wobbling analogue vigour that initially came with the lavish ‘Pack Of Wolves’ three CD package and set the scene for a much anticipated follow-up long player.
WRANGLER’s manifesto is to harness “lost technology to make new themes for the modern world”. And their signature track is ‘Lava Land’, a superb cross between CABARET VOLTAIRE and prime ‘Metamatic’ era John Foxx but with a modern twist. Stephen Mallinder’s voice manipulations range from demonic gargoyle to stern drowning robot. The frantic pace is strangely danceable, but the mood is distinctly unsettling and dystopian when the screeching steam powered Logan string machine kicks in.
With 2013 having been one of the strongest years in electronic pop since its post-punk heyday, 2014 was always going to struggle to compete,
This was despite it being the 50th Anniversary of the Moog synthesizer’s first prototype demonstration at the Audio Engineering Society convention in October 1964.
While 2014 was nowhere near in terms of the high profile releases of 2013 or even 2011, it certainly surpassed the comparatively quiet year of 2012.
But there were still a lot of live shows as momentum continued in support of the previous year’s releases with NINE INCH NAILS, GARY NUMAN, DEPECHE MODE, CHVRCHES, FEATHERS, GOLDFRAPP, COVENANT and SOFT METALS among those doing the rounds.
Electronic pioneer KARL BARTOS began the year with his first concert tour since 2003 in Germany. His ‘Off the Record’ live presentation highlighted the best of his KRAFTWERK co-compositions alongside excellent new material.
Coincidentally, on the same night Herr Bartos opened in Cologne, Ralf Hütter picked up a Lifetime Achievement Grammy on behalf of KRAFTWERK, thus finally validating electronic music in the traditionally synthphobic territory of the USA. And by the end of the year, there was even a belated nomination for The Rock ‘N’ Roll Hall Of Fame.
Staying in Germany, cult trio CAMOUFLAGE celebrated over 30 years in the business with a lavish package ‘The Box 1983-2013’ and a best of CD ‘The Singles’.
CLAUDIA BRÜCKEN though surprised everyone by strapping on an acoustic guitar for her third solo album ‘Where Else?’, but its mix of electronics and six string proved to be well received by her fans.
And on the subject of Germanic influences, Belgian duo METROLAND returned with their Kling Klang flavoured technopop courtesy of the multi-formatted single ‘Thalys’, a tie-in with the European high speed train operator and a rather original cover of ‘Close To Me’ for ‘A Strange Play – An Alfa Matrix Tribute To THE CURE’. Meanwhile, iEUROPEAN teamed up with Wolfgang Flür for some ‘Activity Of Sound’. Flür himself delighted KRAFTWERK fans by announcing he would be playing London gigs in the New Year.
MemeTune Studio in London’s trendy Shoreditch proved to be a hotbed of electronic activity throughout 2014.
Already the location for the largest array of vintage synthesizers in the UK, from the complex emerged fabulous music from the likes of HANNAH PEEL, GAZELLE TWIN and WRANGLER featuring ex-CABARET VOLTAIRE frontman Stephen Mallinder.
MemeTune even found time to curate its own live event ‘MUS_IIC.01’.
Well known for his connections with that stable, JOHN FOXX came back from a break (by his recent prolific standards) with the audio / visual collaboration ‘Evidence Of Time Travel’ in partnership with STEVE D’AGOSTINO.
Other Synth Britannia stalwarts were in action too. OMD celebrated their ‘Dazzle Ships’ era with a pair of concerts at the Museum Of Liverpool and SIMPLE MINDS continued their grandiose demeanour with ‘Big Music’. Meanwhile, MIDGE URE released a fine collection of songs entitled ‘Fragile’, his first of original solo material in 12 years; it also featured a great collaboration with MOBY entitled ‘Dark Dark Night’. As well as that, he worked on a track with Dutch composer Stephen Emmer for an orchestral laden crooner album called ‘International Blue’ which additionally featured his pal Glenn Gregory.
Mr Gregory wasn’t idle either, recording ‘Pray’ b/w ‘Illumination’, HEAVEN 17’s first new material since 2005’s Before After’.
He even found time to impersonate DAVID BOWIE for some special live shows performing ‘The Man Who Sold The World’ with Tony Visconti and Woody Woodmansey as HOLY HOLY.
After last year’s seasonal offering ‘Snow Globe’, ERASURE made a full return in 2014 with ‘The Violet Flame’, the marriage of Andy Bell and Vince Clarke showcasing their best work since 2005’s ‘Nightbird’. Interestingly, ‘The Violet Flame’ was launched via the crowdfunding platform Pledge Music, although this appeared to be more as a promotional tool and fan networking opportunity.
CHINA CRISIS went the Pledge Music route too, announcing their first album in 20 years entitled ‘Autumn In the Neighbourhood’ while also crowdfunded, YELLO’s Boris Blank delivered ‘Electrified’, a solo box set of unreleased material.
Not to be outdone, his YELLO bandmate Dieter Meier responded with his grouchy solo offering ‘Out Of Chaos’ which appeared to be a tribute to Tom Waits. And unexpectedly on the back of ‘Don’t You Want Me?’ becoming a terrace chant for Aberdeen FC’s Scottish League Cup victory, ex-HUMAN LEAGUE member Jo Callis launched a new project called FINGER HALO.
The enduring legacy of many of these veterans was celebrated in ‘Mad World: An Oral History of the New Wave Artists and Songs That Defined the 1980s’, possibly the best book of its kind about that musical era which the Americans like to refer to as New Wave. Featuring brand new interviews with key protagonists like GARY NUMAN, OMD, NEW ORDER, DURAN DURAN, YAZOO, ULTRAVOX, A-HA and HEAVEN 17, it was a high quality publication that made up for some previously clumsy attempts by others at documenting the period.
Also a good read was Bernard Sumner’s memoirs ‘Chapter and Verse’ which covered his career to date with JOY DIVISION and NEW ORDER.
Coincidentally, Mark Reeder, the man often credited with introducing electronic dance music to Sumner, had a career spanning compendium called ‘Collaborator’ issued containing his earlier work as a member SHARK VEGAS, right up to his more recent remixes of DURAN DURAN’s John Taylor and Sumner’s various projects with BLANK & JONES and WESTBAM.
It was a particularly active year for the industrial scene; AESTHETIC PERFECTION toured Europe with their more accessible but still aggressive ‘Til Death’ opus while ASSEMBLAGE 23 frontman Tom Shear continued developing his SURVEILLANCE side project with ‘Oceania Remixed’. Swedish trio LEGEND gained acclaim for their live performances in support of their debut album ‘Fearless’, Texan duo IRIS released a new album ‘Radiant’ and DIE KRUPPS blasted their way into the South East of England for their first UK dates since 2008.
In more contemporary circles, LA ROUX finally released a second album, appropriately named ‘Trouble In Paradise’. Singer Elly Jackson had split with silent partner Ben Langmaid due to good old fashioned musical differences and as expected, the songs were less synthpoppy than the self-titled debut. Reaching for more disco orientated leanings such as CHIC, GRACE JONES and TOM TOM CLUB, this was if nothing, a more superior offering to either what LITTLE BOOTS or LADYHAWKE managed with their sophomore albums. North of the border, MARNIE did her bit for the Scottish Independence Campaign with the rousingly anthemic ‘Wolves’.
The delightfully eccentric IMOGEN HEAP showcased her innovative collaborative developments in music technology via her new album ‘Sparks’ and even squeezed in a collaboration with pop princess TAYLOR SWIFT for the latter’s million selling album ‘1989’.
ELECTRICITYCLUB.CO.UK commented in 2012 about how CHVRCHES‘ ‘The Mother We Share’ sounded like “Taylor Swift gone electro”, so in a give some, take some back move, the young songstress came up with ‘Out Of The Woods’, a ditty quite obviously influenced by the Glaswegian trio and a synth laden tune entitled ‘New Romantics’ on the bonus edition.
By coincidence with her slight passing resemblance to Miss Swift, QUEEN OF HEARTS launched her debut musical charter ‘Cocoon’ after several years in the making to confirm that pop was indeed not a dirty word.
In the leftfield electronica arena, Warp Records issued ‘High Life’, a collaboration by KARL HYDE and BRIAN ENO while there was also the long awaited new album from APHEX TWIN entitled ‘Syro’. And former MASSIVE ATTACK producer DAVIDGE released an impressive debut collection of songs ‘Slo Light’ that featured SANDIE SHAW, CATE LE BON and EMI GREEN among its vocalists.
One act establishing themselves as major players in the modern electronic scene were Canada’s TR/ST. Led by the polarising “Eeyore gone goth” moodiness of Robert Alfons, the ironically titled ‘Joyland’ was an excellent second album that captured the sleazy nature of a 21st Century SOFT CELL and attached it to the grumpiness of Leonard Cohen.
Meanwhile, Brooklyn minimal duo XENO & OAKLANDER gave the world ‘Par Avion’, possibly their most accessible and colourful work yet. Also from the area came the shadowy huskiness of AZAR SWAN and the alternative mystique of REXXY. Over in LA, NIGHT CLUB showed further promise with their best offering yet in their third EP ‘Black Leather Heart’ while in San Antonio, HYPERBUBBLE launched an ‘Attack Of The Titans’.
Baltimore’s FUTURE ISLANDS however divided opinion; their fans included Andy McCluskey, Vince Clarke, Martyn Ware, Rusty Egan and Jori Hulkkonen, but their unintentionally amusing live appearance on ‘The David Letterman Show’ performing ‘Seasons’ came over to some observers like a ‘Saturday Night Live’ skit on the 80s. However, with two sold out dates at London’s Roundhouse in March 2015, Samuel T. Herring and Co are the ones having the last laugh.
The Nordic region proved itself again to be the centre of electronic creativity. The dream partnership of ROBYN and RÖYKSOPP reconvened after the success of 2010’s ‘The Girl & The Robot’ to ‘Do It Again’ while RÖYKSOPP themselves released what they announced to be their last album, appropriately titled ‘The Inevitable End’.
Also featuring on that album was Nordic vocalist of the moment SUSANNE SUNDFØR who has her own new eagerly awaited long player ‘Ten Love Songs’ out in 2015.
KARIN PARK and MARGARET BERGER provided another united Scandinavian front when they performed together at Norway’s Melodi Grand Prix while Finnish duo SIN COS TAN delivered their third long player in as many years with a concept album called ‘Blown Away’.
From Sweden came the welcome return of KLEERUP with ‘As If We Never Won’, the first of two new EPs before an album to follow-up the brilliant self-titled debut from 2008. Meanwhile, EMMON delivered her fourth album ‘Aon’ as well as a baby. There was more glacial oddness from IAMAMIWHOAMI with her second album ‘Blue’ while the brooding Nordic Noir pop of stunning identical twins SAY LOU LOU started to gain a foothold in readiness for their first long player ‘Lucid Dreaming’.
Nordic friendly music blog Cold War Night Life curated possibly the best electronic event of the year with ‘An Evening With The Swedish Synth’ at London’s 93 Feet East. In a bill supported by the promising TRAIN TO SPAIN and synth rock duo MACHINISTA who delivered a great debut album in ‘Xenoglossy’, the event was headlined by synthpop veterans PAGE. Incidentally, Eddie Bengtsson of PAGE’s solo project SISTA MANNEN PÅ JORDEN produced some interesting covers of OMD and DEVO, both reworked i Svenska.
And all this while ELECTRICITYCLUB.CO.UK bore witness to a puzzled British musician who actually asked with a straight face “What’s so special about Sweden then?”!! ‘An Evening With The Swedish Synth’ was a fine example of what could be achieved when an electronic event was actually curated by electronic music enthusiasts, as this was not always the case in several instances during 2014.
Following a four year hiatus, CLIENT rebooted and released ‘Authority’ with new singer Client N doing a fine impersonation of MARNIE on the single ‘Refuge’. After a long gestation period, Anglo-German collective TWINS NATALIA released their debut long player ‘The Destiny Room’ and pleasantly wallowed in the neu romance of classic synthpop, dressing it with the vocal styles of GRACE JONES and ABBA.
TWINS NATALIA’s ‘The Destiny Room’ was released on Anna Logue Records who in 2015 will issue ‘Signs Of life’, the debut album from enigmatic South East Asian combo QUIETER THAN SPIDERS. Possibly the best new synthpop act to emerge in 2014, as befitting their name, they made their music, edited some videos and just discretely got on with it, thus proving the theory that those who shout loudest are not always necessarily the best…
MARSHEAUX celebrated ten years in the business with a compilation called ‘Odyssey’ on the prestigious Les Disques Du Crépuscule label. They also announced an unusual project for 2015, an album covering DEPECHE MODE’s ‘A Broken Frame’ in its entirety. Also on Undo, KID MOXIE released her second album ‘1888’ featuring a collaboration with acclaimed film score composer Angelo Badalamenti to compliment her new cinematic pop approach. Meanwhile, one-time Undo label mates LIEBE started getting traction on MTV Europe and MIKRO maintained their position as Greece’s premier power pop band with their seventh album ‘New’ despite the departure of singer Ria Mazini following its unveiling.
From Dublin came the filmic ambience of POLYDROID while cut from a similar cloth, there was the haunting soundscapes of Trans-Belgian pairing MARI & THE GHOST. There were also several other promising female led talents ranging from the sugary pop of PAWWS and the quietly subversive electro of I AM SNOW ANGEL to the soulful moodiness of HUGH and the mysteriously smoky allure of FIFI RONG.
VILE ELECTRODES confirmed their position as the best independent electronic act in the UK currently when they snared not just one, but two Schallwelle Awards in Germany.
Miss Blackwood gave spirited live vocal performances of several songs from her own career as part of a singing DJ set including ‘Justice’, her recent collaboration for the FOTONOVELA album ‘A Ton Of Love’. There was additionally the bonus of her duetting with SPEAK & SPELL on ‘A Question Of Time’ during their ‘101’ performance celebrating the film’s 25th anniversary.
Possibly the best independently released album of 2014 came from Glasgow’s ANALOG ANGEL who freed themselves of their industrial shackles to produce a collection of sophisticated synthpop entitled ‘Trinity’.
Having been around since 2009 and with two albums already to their name, the Scottish trio put their money where their mouths were. Their decision to avoid crowdfunding and invest in their own music was an applaudable decision, especially when other bands, who were still yet to prove themselves, were out with the begging bowls.
Indeed, 2014 was a strange year in which ego appeared to overtake ability and none more so than on the live circuit, where that old adage about needing to learn to walk before running ran true. Wanabee promoters with no notable experience bit off more than they could chew by playing Fantasy Festival, as was proven by the Alt-Fest debacle.
Despite a much publicised crowdfunding exercise, the simple use of a pocket calculator would have shown that an event of such magnitude could not be underwritten by such a comparatively small amount of cash and anticipated ticket sales. When rumours abounded that Alt-Fest was to be cancelled due to a lack of funds, the organisers’ silence and lack of resolve caused much resentment. Risk is all part of the game, but live ventures require solid finance, spirited commitment and an attempt at least to get in the black.
However, a few promoters appeared to want to make life difficult for themselves from the off. In its investigations, ELECTRICITYCLUB.CO.UK found that with one poorly attended event back in 2013, there was no way the event could have balanced its books, even if it had sold out its ticket capacity!
Meanwhile, there was another gig in 2014 publicised so covertly with restricted social media and bizarre pricing structures, it was as if the promoters didn’t want anyone to attend! Of course, there was also that tactic of announcing an event almost a year in advance without confirming any of the acts for several months, as if the event was more important than any of the music!
As Whitby Goth Weekend’s Jo Hampshire pointed out:“Alt-Fest had put its tickets on sale while still booking acts including headliners, which is potentially disastrous”! Despite the general feeling that independently curated live initiatives should be anti-corporate, everything is about business at the end of the day.
However, a number of promoters at this end of the market failed to realise this. Any artists performing must be paid their expenses and fees as per any agreement, regardless of the final ticket sales unless terms such as door percentages or ticket sale buy-ons have been arranged.
But as one-time TECHNIQUE singer Xan Tyler pointed out: “Musicians get ripped off at every turn, online stores take a huge cut, Spotify don’t remunerate artists properly, venues expect you to play for bugger all (and in some case they expect you to pay to play). If you want to make money from the music industry, don’t be a musician!”
ELECTRICITYCLUB.CO.UK is coming into its fifth anniversary and continues to maintain a readership of discerning music fans, despite protestations in some quarters to the contrary.
The site’s manifesto has always been about celebrating the best in new and classic electronic pop music.
It has never made claims about supporting unsigned acts or any music that happens use a synthesizer.
As Client A put it franklyin the Autumn: “in the electronica age, anyone can be a musician but that also makes it a free for all with every tom, dick or curly clogging up the internet with their crap music…”
Meanwhile, NIGHT CLUB added: “People forget about things so quickly these days because the internet is so inundated with crap…”
So ELECTRICITYCLUB.CO.UK considers what music it features very, very carefully. it may not manage to be first, like many so-called buzz blogs try to be, but it has always had longevity in mind, even if that is difficult to predict.
ELECTRICITYCLUB.CO.UK Contributor Listings of 2014
PAUL BODDY
Best Album: TODD TERJE It’s Album Time
Best Song: RÖYKSOPP & ROBYN Do It Again
Best Gig: NINE INCH NAILS at Nottingham Arena
Best Video: MAPS You Will Find A Way
Most Promising New Act: TODD TERJE
DEB DANAHAY
Best Album: RÖYKSOPP The Inevitable End
Best Song: RÖYKSOPP featuring JAMIE IRREPRESSIBLE Something In My Heart
Best Gig: COVENANT + LEGEND at Gothenburg Electronic Summer Festival
Best Video: PRINCESS CENTURY Das Schlimmste
Most Promising New Act: LEGEND
IAN FERGUSON
Best Album: MIDGE URE Fragile
Best Song: MIDGE URE Dark, Dark Night
Best Gig: THE RADIOPHONIC WORKSHOP at Glasgow Quayside
Best Video: IMOGEN HEAP The Listening Chair
Most Promising New Act: WRANGLER
MONIKA IZABELA GOSS
Best Album: ERASURE The Violet Flame
Best Song: ANALOG ANGEL Drive
Best Gig: DEPECHE MODE at Strasbourg Zénith
Best Video: DIE KRUPPS Robo Sapien
Most Promising New Act: PAWWS
STEVE GRAY
Best Album: RÖYKSOPP The Inevitable End
Best Song: RÖYKSOPP featuring JAMIE IRREPRESSIBLE I Had This Thing
Best Gig: GARY NUMAN at Hammersmith Apollo
Best Video: KID MOXIE Lacuna
Most Promising New Act: TWINS NATALIA
CHI MING LAI
Best Album: MIDGE URE Fragile
Best Song: ANALOG ANGEL The Last Time
Best Gig: KARL BARTOS at Cologne Live Music Hall
Best Video: LIEBE I Believe In You
Most Promising New Act: QUIETER THAN SPIDERS
SOPHIE NILSSON
Best Album: ERASURE The Violet Flame
Best Song: SISTA MANNEN PÅ JORDEN Stadens Alla Ljus
Best Gig: ANDY BELL in ‘Torsten The Bareback Saint’ at London St James Theatre
Best Video: ANDY BELL I Don’t Like
Most Promising New Act: PULSE
RICHARD PRICE
Best Album: ERASURE The Violet Flame
Best Song: POLLY SCATTERGOOD Subsequently Lost
Best Gig: PET SHOP BOYS at Brighton Dome
Best Video: JOHN FOXX B-Movie
Most Promising New Act: PAWWS
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Walls Have Ears…
What’s been your highlight with Wall Of Sound after 21 years?
Will Back To The Phuture ever return and would you be interested putting on another event like ‘Tomorrow Is Today’ featuring GARY NUMAN, JOHN FOXX, MIRRORS and MOTOR? If so, who would be the fantasy line-up?
reminded people why the classic line-up of 
. ‘Drive’ was a haunting drama about domestic violence that was given extra poignancy by a ghostly guest vocal by Tracy J Cox. There was also the frantic ERSAURE on Stella Artois of ‘The Chase’, the rousing schaffel stomp of ‘Round Again’ and the refined CAMOUFLAGE meets VANGELIS atmospheres of ‘Inner Voice’. But the biggest surprise was ‘The Last Time’, a cinematic masterpiece involving an orchestra that cascaded into an epic Pan-European journey across The Steppes. The virtual symphonic strings and gothic choirs gave an indication as to what OMD might have sounded like if Jim Steinman had been producing!
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or ‘Walls’ from her self-titled debut, but not all together on this grand a scale.
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