Tag: Tears For Fears (Page 3 of 4)

Listen: The Legacy of TEARS FOR FEARS

20 November 2017 / electricityclub

Photo by Tim O’Sullivan

When Roland Orzabal and Curt Smith went into the studio to record ‘Suffer The Children’ as their debut single as TEARS FOR FEARS, it was producer David Lord who introduced them to synthesizers plus crucially, keyboard player and later, collaborator Ian Stanley.

The Bath pair had been members of NEON which featured future TEARS FOR FEARS drummer Manny Elias as well as Pete Byrne and Rob Fisher who later found success in America as NAKED EYES. Orzabal and Smith then achieved moderate success in Spain with the smartly suited Mod band GRADUATE via a hit single ‘Elvis Should Play Ska’, co-produced by Tony Hatch.

But like many at the time, they were tiring of the band format and recording as a duo, a demo featuring ‘Suffer The Children’ and ‘Pale Shelter’ secured an initial two single deal with Mercury Records who also had THE TEARDROP EXPLODES on their roster.

Arty and angsty, Orzabal and Smith had become fascinated by Arthur Janov’s Primal Therapy and had named themselves after his theories which resolved to overcome childhood traumas through re-experiencing specific incidents and fully expressing the resulting pain during therapy.

While not a commercial success, ‘Suffer The Children’ with its OMD-like chorus and closing child vocal refrain was well received, so hopes were pinned on ‘Pale Shelter’, produced by Mike Howlett whose studio touch had brought OMD into the charts.

However, the duo were unhappy with the New Zealander’s more technological approach, preferring a looser feel and found an ally in Chris Hughes, producer of ADAM & THE ANTS who also doubled as one of the former Stuart Goddard’s drummers under the stage name of Merrick.

A&R man David Bates believed in his signings and TEARS FOR FEARS were given one more chance with the resultant ‘Mad World’ hitting paydirt. Lyrically fraught with a wonderful percussive tension, ‘Mad World’ magnificently combined synthesizers, preset rhythms and conventional instruments.

It set the scene for the debut album ‘The Hurting’ but when it was released in Spring 1983, it disappointed some who had followed the band from the beginning. Not only were all four singles to date included but so were two of the B-sides.

Meanwhile, two of the album’s key songs ‘Memories Fade’ and ‘Start Of The Breakdown’ sounded weak compared to the more powerful Linn Drum driven assisted arrangements previewed on an excellent BBC Radio 1 session for Kid Jensen in late 1982 which exuded far more tension; these finally secured a release in the deluxe boxed set edition of ‘The Hurting’ in 2013.

This wasn’t to be the first time that the Achilles heel of too much studio pondering would hit TEARS FOR FEARS, but one interesting consequence was that the treated ethnic percussion added to the extended end section of ‘Memories Fade’ was sampled by Midge Ure and used on ‘Do They Know It’s Christmas?’ by BAND AID.

With the help of hits like ‘Change’ and a re-recorded ‘Pale Shelter’, ‘The Hurting’ was a big success and put them next to the exciting talent that was emerging from the UK like DEPECHE MODE, TALK TALK, A FLOCK OF SEAGULLS, BLANCMANGE and CHINA CRISIS. But they stole defeat from the jaws of victory with a ponderous interim single ‘The Way You Are’ towards the end of 1983. By their own admission, they had been listening to too much JAPAN and were stuck on Planet Sylvian… it was time for a rethink.

At this point, Smith was the accepted face and lead singer of TEARS FOR FEARS but that would steadily alter on their second album ‘Songs From The Big Chair’. ‘Mothers Talk’ was a reasonable comeback featuring Orzabal’s lead vocal but the duo were still not happy. Their perceived failing made them more determined; With East / West tensions at a high following the Soviet Union’s invasion of Afghanistan plus the tit-for-tat boycotts of The Olympics Games, The Cold War and the Reagan / Thatcher love-in was to inspire two of TEARS FOR FEARS biggest hits.

‘Shout’ was a battlecry against the proliferation of nuclear weapons. Using sequencers and drum machines as the backbone, the process was aided by more prominent and rockier guitar towards the climax, along with a gutsy lead vocal from Orzabal and thundering drums from Chris Hughes. The song took an age to record and mix but produced a single of epic proportions at over six minutes.

On the other hand, ‘Everybody Wants To Rule The World (originally titled ‘Everybody Wants To Go To War’) was more straightforward as a conscious attempt at an American drive-time hit with its fabulous topline, chorus and middle eight. Both songs became US No1s.

Another US Top 10 came with ‘Head Over Heels’, part of an album segue with ‘Broken’, a track that had been a more mechanically recorded B-side but now given a blistering treatment on the conceptual second side of ‘Songs From The Big Chair’, which was closed with the lengthy but brilliant art piece ‘Listen’. The combination of synthpop, FM rock and prog ensured 5 million sales in the US and a further 2 million in the rest of the world.

They indeed ruled the world but as with many successful acts of the period, TEARS FOR FEARS got lost in the own bubble. Orzabal began to question the band’s authenticity and this was heightened when he saw Oleta Adams singing in a bar while on a break during the American leg of the ‘Big Chair’ tour.

During the recording of the anticipated follow-up The Seeds Of Love, Smith found himself isolated during the recording sessions as Orzabal strived for perfection. Orzabal had co-written a number of songs with live keyboardist Nicky Holland, but the use of a Fairlight and endless session musicians being brought in like Pino Palladino, Manu Katché and even Phil Collins became a distraction in the search for a more organic touch; Ian Stanley left the recording and returned a year later only to find Orzabal still working on the same song!

Incorporating Adam’s soulful tones into the TEARS FOR FEARS line-up, ‘Woman In Chains’ was a fine musical statement on patriarchy, but was ironically used during a glamourous beach sequence on ‘Baywatch’. However, the lead single ‘Sowing The Seeds Of Love’ was more polarising, an anthemic rewriting of ‘I Am The Walrus’ which provoked either love or disdain.

Smith did the lead vocal on ‘Advice For The Young At Heart, a good tune that perhaps got lost in its understated backing that made it come over more like CHINA CRISIS, but following another world tour to pay off the alleged debt of over $1 million incurred in recording costs, Smith bowed out as their management went bankrupt .

Resilient and some might say, bloody minded, Orzabal (like Andy McCluskey did with OMD) continued the TEARS FOR FEARS brand as a solo venture, and while the venture yielded further UK hits like ‘Laid So Low’ and ‘Break It Down Again’ co-written by the late Alan Griffiths, fans generally did not regard it as TEARS FOR FEARS.

It was around this period that Orzabal recorded covers of ‘Ashes To Ashes’ and ‘Creep’, perhaps indicating he was going through some kind of musical existential crisis. And a 2000 solo album ‘Tomcats Screaming Outside’ all but confirmed even to Orzabal that it was not TEARS FOR FEARS without Smith. While Smith himself also ventured out solo and as MAYFIELD, time eventually healed the fall out as Orzabal lightened up and the two old friends began speaking to each other again.

The eventual 2004 comeback record ‘Everybody Loves A Happy Ending’ was a disappointment and not a success with the original release on Arista pulled by the band before its release after promos were sent out; an eventual sanctuary was found at Gut Records in the UK, but the experience ensured that in 2017, there has still yet to be a follow-up.

Photo by Jake Walters

Despite this, TEARS FOR FEARS continued touring but the band’s legacy and reputation was unexpectedly elevated by the cult film ‘Donnie Darko’ released in 2001. A dark psychological drama starring a then-unknown Jake Gyllenhaal, the original cut began with ‘Head Over Heels’ in the opening sequences. Meanwhile a stripped down piano based cover of ‘Mad World’ arranged by Michael Andrews and sung by Gary Jules became the film’s focal point on the soundtrack. It affirmed Orzabal’s qualities as a great songwriter and since then, the work of TEARS FOR FEARS been deservedly re-evaluated and as a result, demand for them has a live act has escalated.

In the last few years, Orzabal and Smith toured with SPANDAU BALLET down under while they have also opened for THE KILLERS and HALL & OATES to steadily rebuild the profile of TEARS FOR FEARS; this long wait has been vindicated with a sell-out UK tour for 2018 and the promise of new material.

A new single ‘I Love You But I’m Lost’ shows the classic anthemic TEARS FOR FEARS sound is still present, loud and clear to make amends for the ‘Everybody Loves A Happy Ending’ disaster, while absorbing more recent influences like ARCADE FIRE. Meanwhile, the more sedate ‘Stay’ signals more organic intent despite an autotuned vocal from Smith.

The new compilation ‘Rule The World’ gathers most of the hits, but is missing some singles like ‘Suffer The Children’, ‘The Way You Are’ and ‘Laid So Low’ which however unrealised, were crucial in shaping TEARS FOR FEARS’ creative development.

With ‘The Hurting’ having been many listeners entry in synthpop and modern acts like MARSHEAUX covering ‘Suffer The Children’, while other bands such as SMASHING PUMPKINS and MGMT have cited the band as an influence, is it now the time for TEAR FOR FEARS to reclaim their position and rule the world again?

‘Rule The World: The Greatest Hits’ is released by Universal Records

TEARS FOR FEARS rescheduled 2019 UK and Ireland tour with special guest Alison Moyet includes:

Dublin 3Arena (31st January), Liverpool Echo Arena (2nd February), Cardiff Motorpoint Arena (3rd February), Brighton Centre (4th February), London O2 Arena (6th February), Bournemouth International Centre (7th February), Leeds First Direct Arena (9th February), Glasgow SSE Hydro (11th February), Birmingham Genting Arena (12th February), Nottingham Motorpoint Arena (13th February)

http://tearsforfears.com

https://facebook.com/TearsForFears

https://twitter.com/tearsforfears

https://www.instagram.com/tearsforfearsmusic/

Text by Chi Ming Lai
20th November 2017, updated 18th April 2018

MARSHEAUX Suffer The Children

23 August 2016 / electricityclub

MARSHEAUX have recorded a cover of TEARS FOR FEARS ‘Suffer The Children’.

TEARS FOR FEARS’ first single was written by Roland Orzabal reflecting the Bath duo’s interests in Arthur Janov’s Primal Scream therapy to deal with the traumas of childhood; a re-worked version appeared on their classic 1983 debut album ‘The Hurting’. The enticing reinterpretation is accompanied by a suitably moody black and white video filmed in Berlin; watch carefully for Sophie and Marianthi’s fleeting cameo appearance…

The mood of the innocent childlike vocal refrain in the bridge of the original is maintained throughout MARSHEAUX’s version. The contrast of a wispy female lead vocal paradoxically adds extra resonance to the weighty poetry of ‘Suffer The Children’.

MARSHEAUX chatted to ELECTRICITYCLUB.CO.UK about the genesis of ‘Suffer The Children’ while also discussing some of their favourite covers and ones which didn’t quite work out…

‘Suffer The Children’ is an interesting song for you to cover, what inspired this?

We were on our way back from our vacation last year and were listening to ‘The Hurting’ album in the car. We were thinking of covering DEPECHE MODE’s ‘Get The Balance Right’ but then suddenly the CD player played ‘Suffer The Children’ and we changed our minds. Whenever we listen to it, it always brings JOY DIVISION in our minds, sounding like what would have happened if they’d decided to play electronic music.

The lyrics of ‘Suffer The Children’ are quite heavy for a pop song. How did you find trying to relate to them?

True, the lyrics are heavy for a pop song. These emotions are coming both ways, from parent and child. You can take the place of both, as a kid and as a parent.

What did you consciously do to make this cover as different from the original as possible?

First of all the vocals are female. Immediately the song softens its dark edges and becomes more poppy. The production is modern and all the samples that we used are from synths and applications like Circle, Alchemy, Synthmaster and Massive.

The guitar solo has been recreated with a synth? How did you achieve this?

We have used a bass from the Korg MS-20 and put it through flanger, distortion and a Boss BC-1X bass compressor pedal.

Your version also reveals the song’s OMD inspired roots?

There is always an OMD inspiration in the full MARSHEAUX catalogue *laughs*

This is actually widely known. If you listen to the original TEARS FOR FEARS version though, you can sense the OMD similarities there too.

Where do you think TEARS FOR FEARS sit next to bands like DEPECHE MODE, OMD and ERASURE?

‘The Hurting’ is a masterpiece. It stands next to other great albums like THE HUMAN LEAGUE’s ‘Dare’, ABC’s ‘The Lexicon Of Love’, OMD’s ‘Architecture & Morality’ and YAZOO’s ‘Upstairs at Eric’s’. Every single track could have been a perfect single.

The strange thing with TEARS FOR FEARS is that each album by them represents musically and culturally, a different period for the band. Maybe it is because they had big gaps in between albums or maybe their concepts, motives and targets were different each time.

They became huge in the USA with ‘Songs From The Big Chair’, and maybe lost their street cutting sense and their artistic value (you know the whole Arthur Janov’s background with ‘primal therapy’ on ‘Suffer The Children’) but this doesn’t belittle the value of their songs.

Even the singles from their Beatles-ish album ‘Seeds Of Love’ are amazing. They surely can stand next to DEPECHE MODE, OMD and ERASURE. They are one of the great bands we have passionately loved and still do. Their lyrics are always incredible. “Memories fade… but the scars still linger”, it’s so wonderful

MARSHEAUX have some great covers. Which ones do you feel have been the most satisfying artistically for you?

THE LIGHTNING SEEDS ‘Pure’ is a favourite for both of us, as well as BILLY IDOL’s ‘Eyes Without A Face’ which was the most successful one. Imagine, this last one was supposed to be bonus track on ‘Breakthrough’ single but Out Of Line, our record company back then, didn’t like it and didn’t want to include it as a bonus in the single.

Choosing a cover can be difficult. Have there ever been any you attempted that didn’t work out?

Yes, there were actually two not very fruitful attempts. The first one was THE PRIMITIVES’ ‘Crash’ and the second was PETE SHELLEY’s ‘Homosapien’!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to MARSHEAUX

‘Suffer The Children’ is released by Undo Records as a download single and available via the usual platforms

http://www.marsheaux.com/

https://www.facebook.com/marsheaux/

https://twitter.com/marsheaux

https://www.instagram.com/marsheaux/

Text and Interview by Chi Ming Lai
23rd August 2016, updated 16th February 2021

A Beginner’s Guide To MIKE HOWLETT

4 January 2016 / electricityclub

Mike Howlett is undoubtedly one of the producers who helped define and shape the sound of Synth Britannia and Trans-Atlantic post-punk.

As the bassist in Sydney band THE AFFAIR, he relocated to London after the group travelled to England following winning the Hoadley’s Battle of the Sounds competition.

In 1973, he joined progressive rockers GONG who featured guitarist and future SYSTEM 7 co-founder Steve Hillage. After leaving GONG, Howlett formed STRONTIUM 90 which featured Sting, Stewart Copeland and Andy Summers who subsequently had success as THE POLICE.

His production career began in earnest at Dindisc Records, the Virgin Records subsidiary where his then-girlfriend Carol Wilson was Managing Director. There, he worked with fledgling acts such as THE REVILLOS, MARTHA & THE MUFFINS, MODERN EON and OMD.

While his first Top 20 UK chart entry was with MARTHA & THE MUFFINS, it was his three consecutive Top 15 hits with OMD, including the mighty ‘Enola Gay’, that were to make him an in-demand producer between 1981-1985.

Working with a number of synth friendly acts like BLANCMANGE and CHINA CRISIS, this lucrative period was to include a Grammy Award for ‘DNA’ with A FLOCK OF SEAGULLS in the ‘Best Rock Instrumental Performance’ category. His portfolio was not just restricted to electronic pop, with FISCHER Z, ANY TROUBLE, COMSAT ANGELS, THE ALARM and THE WARD BROTHERS among the artists he also worked with.

Compared with a number of his peers, Howlett’s output was small, but it was highly influential in a short period. Although he moved away from album production, he co-founded the Record Producers Guild in 1987 and launched a record label Mauve in 1993.

Today, he lectures in music technology at several universities throughout the world, having been awarded a PhD in record production in 2009, while he also performs with his psychedelic space funk combo HOUSE OF THANDOY and the occasional reunion of GONG.

Presented in calendar year order and then alphabetically, with a restriction of one song per album project to conceive an imaginary 18 song compilation CD, ELECTRICITYCLUB.CO.UK looks back at the impressive studio career of Mike Howlett…

MARTHA & THE MUFFINS Echo Beach (1980)

MARTHA & THE MUFFINS were six Canadian art students who confusingly had two members named Martha; Gane and Ladly. Combining the spirit of punk and North American styled new wave, ‘Echo Beach’ was a catchy slice of credible pop that featured sax, flute and organ alongside the more conventionally accepted guitars, bass and drums. Reaching No10 in the UK singles chart, it was Howlett’s first big hit and set him off on his successful production path.

Available on the album ‘Metro Music’ via Virgin Records

http://www.marthaandthemuffins.com/

OMD Messages (1980)

For its single release, OMD re-recorded ‘Messages’ from their self-titled debut. Utilising a pulsing ‘Repeat’ function on a Korg Micro-Preset shaped by hand twisting the octave knob, Howlett harnessed a template of basic primary chord structures and one fingered melodies to produce a No13 UK chart hit. As well including Mal Holmes’ separately recorded drums for a cleaner snap, Howlett added several melodic bass guitar lines onto the coda to enhance the warm sound that was distinct from Messrs Numan and Foxx.

Available on the album ‘Messages: OMD Greatest Hits’ via Virgin Records

http://www.omd.uk.com

OMD Stanlow (1980)

Just nine months after the release of OMD’s self-titled and self-produced debut, the band entered Ridge Farm and Advision studios with Howlett for the much more cohesive and gothic follow-up ‘Organisation’. The album’s closer was ‘Stanlow’, a brooding 6 minute epic that conveyed the emotion of returning home after a long journey; the sight of that huge, brightly lit oil refinery from the M56 motorway was apt symbolism. The intellectual but cryptic lyrical themes of OMD set them apart from other synth based acts.

Available on the album ‘Organisation’ via Virgin Records

https://www.facebook.com/omdofficial/

THE TEARDROP EXPLODES When I Dream (1980)

While THE TEARDROP EXPLODES were not a synthesizer group, their use of synths often confused some to dub them New Romantics as they straddled the line between psychedelic pop and Synth Britannia. The Howlett produced ‘When I Dream’ released in Summer 1980 launched Julian Cope and Co’s debut album ‘Kilimanjaro’. Dressed with detuned synths and low-end sweeps, it got them closer to the charts but it took a brass section to net that first hit in ‘Reward’.

Available on the album ‘The Greatest Hit’ via Mercury Records

https://www.headheritage.co.uk/

MARTHA LADLY & THE SCENERY CLUB Tasmania (1981)

Following designing the cover to MARTHA & THE MUFFINS second album ‘Trance & Dance’, Martha Ladly won a scholarship to study graphic design and left the band. She also began working with Peter Saville. She continued a solo career with her first single ‘Finlandia’ produced by Mike Howlett. While this was akin to Nordic folk, the B-side ‘Tasmania’ was a brooding percussive piece reminiscent of JOY DIVISION with sombre chants from Ladly. Just one more single ‘Light Years From Love’ emerged in 1983.

Originally released as the B-side to the single ‘Finlandia’ via Dindisc Records, currently unavailable

http://womenandtech.com/interview/martha-ladly/

MODERN EON Euthenics (1981)

Mike Howlett had effectively become house producer at Dindisc Records and led him to work with most of their artist roster. His production of MODERN EON’s ‘Euthenics’ was a re-recorded version of a single released by indie label Inevitable in 1980. With a sprightly but solemn sound like WAH! HEAT and HAMBI & THE DANCE, the band showed some promise. Led by Alix Plain, this version of ‘Euthenics’ included Tim Lever and Cliff Hewitt who later respectively showed up in DEAD OR ALIVE and APOLLO 440.

Original version available on the boxed set ‘Birth Of A Nation – Inevitable Records: An Independent Liverpool 1979-1986’ via Cherry Red Records

http://www.soulsaw.com/modern-eon/

OMD Souvenir (1981)

Mike Howlett’s work on ‘Souvenir’ cannot be underestimated, with the nightmare scenario of spinning taped choir loops alongside early synthesizer technology. And all this while dealing with a disillusioned Andy McCluskey, who was feeling left out of a song written by his bandmates Paul Humphreys and Martin Cooper. Even after its recording, ‘Souvenir’ didn’t sound quite right, until Howlett varispeeded to the point of Humphreys almost sounding like Alvin The Chipmunk. The end result? OMD’s biggest UK hit!

Available on the album ‘Architecture & Morality’ via Virgin Records

http://www.mikehowlett.co.uk

THOMPSON TWINS Perfect Game (1981)

Before THOMPSON TWINS settled into being the Alex Sadkin produced electropop trio of Tom Bailey, Alannah Currie and Joe Leeway, they were a seven strong combo with a more conventionally driven musical outlook. Previous to that, they were a five-piece art squat collective and Mike Howlett produced their guitar driven third single ‘Perfect Game’. The band later signed to Arista Records and released the more synth friendly breakthrough single ‘In The Name Of Love’ in 1982.

Available on the album ‘A Product Of…’ / ‘Set’ via Edsel Records

http://thompsontwinstombailey.co.uk/

BLANCMANGE I Can’t Explain (1982)

With a blistering burst of Linn Drum and elastic synth bass, ‘I Can’t Explain’ opened BLANCMANGE’s ‘Happy Families’ and set the scene for an impressive debut album. With a sub-Ian Curtis vocal from Neil Arthur, this wasn’t far off an electronic take of JOY DIVISION’s ‘Interzone’, which was based on the Northern Soul fave ‘Keep On Keeping On’ by NF PORTER. This feeling was enhanced further once David Rhodes’ frantic processed guitar kicked in alongside the bizarre, staccato gospel backing vocals.

Available on the album ‘Happy Families’ via Edsel Records

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

A FLOCK OF SEAGULLS Space Age Love Song (1982)

With titles ‘like Modern Love Is Automatic’ and ‘Telecommunication’, the futuristic Sci-Fi vibe of A FLOCK OF SEAGULLS came to its zenith with ‘Space Age Love Song’. Howlett’s brilliantly punchy production integrated synths with guitars, which undoubtedly helped this often forgotten Liverpool band gain a foothold in the traditionally synthphobic territory of the USA. But the song was popular in Europe too, as exemplified by MARSHEAUX’s blatant interpolation of its main hook for ‘Dream Of A Disco’!

Available on the album ‘A Flock Of Seagulls’ via Cherry Pop

http://www.mikescore.com/

A FLOCK OF SEAGULLS Wishing (1982)

With a percussively clanky backbone and using just black keys for its infectious melody line, ‘Wishing’ was the big home hit that A FLOCK OF SEAGULLS has been waiting for, following their acceptance by the MTV audience across the Atlantic. Although much derided in the UK, it was in the US that A FLOCK OF SEAGULLS made a cultural impact, with send-ups of singer Mike Score’s outlandish hairdo appearing in ‘The Wedding Singer’ and ‘Friends’. Score later moved to America and lost his Scouse accent!

Available on the album ‘Listen’ via Cherry Pop

http://www.afosfanclub.com/

GANG OF FOUR I Love A Man In A Uniform (1982)

A popular cult single from the Leeds combo named after the Chinese Communist faction led by Madam Mao, ‘I Love A Man In A Uniform’ was a fine example of the scratchy post-punk funk that was prevalent with alternative acts such as A CERTAIN RATIO, PIGBAG and BAUHAUS. Exploring the public fascination with the military, it was also perhaps a passing dig at ECHO & THE BUNNYMEN who the year previously had perfected a camouflaged look that their fans were copying.

Available on the album ‘A Brief History Of The 20th Century’ via EMI Music

http://gangoffour.co.uk/

TEARS FOR FEARS Pale Shelter (1982)

With the title inspired by Henry Moore, Roland Orzabal described ‘Pale Shelter’ as “a kind of a love song, though more referring to one’s parents than to a girl” – the original single version was produced by Howlett and subtitled ‘You Don’t Give Me Love’ but failed to chart. It began with an unsettling, reverse spoken vocal from Orzabal. It was much darker and obviously synthetic than the familiar re-recording produced by Ross Cullum and Chris Hughes for the TEARS FOR FEARS debut album ‘The Hurting’.

Available on the deluxe album ‘The Hurting’ via Mercury Records

http://tearsforfears.com/

TV21 All Join Hands (1982)

Named after the Gerry Anderson offshoot comic, TV21 primarily used conventional instrumentation, but their Howlett produced single ‘All Join Hands’ featured an OMD styled bass synth sequence and drum machine. Possibly the best known song in the Edinburgh band’s short career, ‘All Join Hands’ was filled with melodic drama, thanks to some classical augmentation by THE CANNIZARRO STRINGS and a fine lead vocal from singer Norman Rodger.

Available on the album ‘Snakes & Ladders – Almost Complete: 1980-82’ via Cherry Red Records

https://www.facebook.com/TV21-63251111019/

CHINA CRISIS Wishful Thinking (1983)

With his OMD success, Mike Howlett was drafted in by Virgin Records to produce what turned out to be the most synth based CHINA CRISIS long player. Utilising Emulator strings and a pizzicato sample derived from plucking an acoustic guitar string close to the bridge, ‘Wishful Thinking’ was a sweetly textured, melodic pop single that deserved its Top 10 chart placing. One fan of the record was STEELY DAN’s Walter Becker who went on to produce the 1985 follow-up ‘Flaunt The Imperfection’.

Available on the album ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ via Virgin Records

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

JOHN FOXX Twilight’s Last Gleaming (1983)

While Zeus B Held provided his rugged arty pop energy for the majority of ‘The Golden Section’, a gentler hand was required for the more serene closer ‘Twilight’s Last Gleaming’. Bringing in Mike Howlett to fulfil the role, he gave the tune an epic gothic aesthetic that recalled ‘Statues’ from OMD’s ‘Organisation’. The end result had more of a connection to its predecessor ‘The Garden’ thanks to the choir boy vocal of James Risborough and John Foxx’s own forlorn whistling alongside the synthesized dramatics.

Available on the album ‘The Golden Section’ via Edsel Records

http://www.metamatic.com

TIN TIN Hold It (1983)

After leaving DURAN DURAN prior to the band signing to EMI, Stephen Duffy formed TIN TIN, an electronic oriented project. Their first single ‘Kiss Me’ released in 1982 became a cult dancefloor hit and for its follow-up ‘Hold It’, Mike Howlett was drafted in on production duties. Less immediate than ‘Kiss Me’, ‘Hold It’ nevertheless gained club traction thanks to a remix by Francois Kevorkian. Duffy eventually went solo and it was a Fairlighted remake of ‘Kiss Me’ that got finally got him a hit.

Originally released a single on WEA Records, currently unavailable

http://thelilactime.com/

BERLIN Now It’s My Turn (1984)

Although the two songs produced by Giorgio Moroder grabbed most of the attention on BERLIN’s first album proper, the rest of ‘Love Life’ was produced by Howlett. Having achieved success with A FLOCK OF SEAGULLS, Howlett was a natural choice for the LA based band and their Eurocentric aspirations. Combining electronics with a dash of AOR, BERLIN often sounded like ULTRAVOX fronted by HEART. With a defiantly feisty vocal from Terri Nunn, ‘Now It’s My Turn’ was absorbingly anthemic.

Available on the album ‘Love Life’ via Rubellan Remasters

http://www.berlinpage.com/

Text by Chi Ming Lai
4th January 2016, updated 3rd May 2020

TORUL The Measure

21 March 2015 / electricityclub

After TORUL’s acclaimed albums ‘Dark Matters’, ‘In Whole’ and ‘Tonight We Dream Fiercely’, with the latter seeing the Slovenian trio supporting MESH on their 2013 European tour, electronic audiences are now treated to their latest offering, ‘The Measure’.

Torul Torulsson’s musical involvement over many years in the industry is clearly palpable on this publication, with his influences as wide as THE CURE and MASSIVE ATTACK to THE PIXIES and DEAD CAN DANCE. A rather eclectic selection of tunes, wrapped around gripping and ever-changeable vocals of Jan Jenko, it delivers exactly what it says on the tin. It is a measured album, which no doubt will be of interest to any weathered TORUL fan and connoisseurs of anything that’s different, interesting and unique.

‘Lonely Night’, the opening track, hits the unprepared ear as a matter of instance, with beefy synth lines and Borut Dolenec’s rough guitar riff, resembling THE CURE at their best, and of course, charismatic vocals over an atmospheric sound of electronically charged and self-regulating melody. Undeniably, it’s a full on “measure” to start the record.

The sequenced opening to ‘The Balance’, resembles LADYTRON, yet the song continues to flow like a mirror image of ‘Mad World’ by TEARS FOR FEARS, which has been covered, with considerable success, by TORUL already. The similarities are actually so obvious, one could question the infringement of publishing rights, no matter how decent the song naturally is, or how skilfully it has been produced and performed. Orzabal and Smith’s opinion could prove to be like gold dust here.

Moving on, ‘Higher’ sounds strong, decisive and carefree, yet melancholic and nostalgic, the songs by Texan duo IRIS come to mind at this stage, yet, unlike the previous track, this one sounds original and fresh; it restores the faith in TORUL’s own ability to turn out a rounded track.

The fabulous intro to ‘Difficult To Kill’ promises great things to come; a magnificently experimental sound and vocals by Jan resembling AND ONE’s Steve Naghavi at first, transitioning into higher tones of pure lushness and sophistication. A superb track and, indeed, fully representing the uniqueness of this bunch and the competence of Torulsson’s instrumentation. Invigorating, yet soothing; it is empowering yet easy listening and magnificent.

The scantily titled ‘All’ floats in with vocals bearing the impact of TEARS FOR FEARS again; yet this time, the track is uncommon and unprecedented. Still, the influences of PET SHOP BOYS, and even SCOOTER can be picked out. A proof that the production on this album is based on wide musical tastes, which can be so lacking in the electronic offerings of today. Short and sweet, and an uncomplicated tune, it is as worthy as its predecessor.

The synthy, NEW ORDER-like ‘Hearts’ follows, with its guitar riffs that Martin Gore wouldn’t be ashamed of. With a longer opening before Jan comes in, the full-bodied vocals do not seem to lend themselves to the over produced feel of this song however, making it instantly forgettable and disposable.

The AND ONE vocals return in the opening section of ‘We Grow’. An “atmospheric meets progressive” tune, but this one has a clear floating quality. Not over complicated, its simplicity is phenomenal and Jan modulates his voice from deep to levelled, lending to the track’s exclusivity and rarity. ‘Lost For You’ invites one in with a piercing synth line and the exquisite skills of the vocalist. Slower, fully atmospheric, ethereal and of a dream-like quality, it is like bare feet in the meadow of a love affair in itself.

The dreaminess is cut through, however, with the sword of heavy, ear ringing synths and church bells on ‘The More We Are’. Another solid, almost mechanical tune, due to the combo of vocals and variable electronic elements, it leads inadvertently to the last song on the album ‘Discrepancy’.

Experimental sounding again, with Vlad The Impaler vocals, which no doubt will ring well with the Goths of this world, its vampiric simplicity of scarce sounds give this tune its own genre almost, the vocal leading the flow of the production in a rather superb manner. It’s an extraordinary way to finish off this interesting album, with salvos of fireworks lighting up the dark night sky.

It is fair to say that TORUL, with their unique sounds and array of musical approaches, as well as a mix of influences, are as original as it gets. The production is extraordinary and the attention to detail superb. This album fully represents this, and although it may be a grower, it definitely is a valid addition to the catalogue, of not only the electronic music fan, but also alternative and pop listeners alike.

TORUL have an aura of supremacy, magnetism and prominence around them and ‘The Measure’ surely adds a decent “measure” of all those into the mix. It is definitely a worthy addition to anyone’s music collection.

‘The Measure’ is released by Infacted Recordings on 20th March 2015

http://www.torul-recordings.net/

https://www.facebook.com/torul

Text by Monika Izabela Goss
Photos by Nina Kovačič
21st March 2015

LIKE LUKEWARM WATER… Poor Singles by Great Acts

17 January 2015 / electricityclub

Artists are not infallible creatures and even on great albums, there’s often a duff song that somehow gets released as a single and becomes a hit.

Some of these inferior singles though get found out early on and deservedly fail to capture the public’s imagination.

However, sometimes the artists themselves will realise the errors of their ways with these less than satisfactory offerings.

They might quickly drop the track from the live set or rewrite history by excluding the said offending item from greatest hits packages. As a singular follow-up to the ‘We Hope You Enjoy Our New Direction’ albums article, here are twenty singles by your favourite acts who really should have known better.

Arranged in chronological and then alphabetical order with a restriction of one release per artist, these singles are, in the words of SPINAL TAP’s Nigel Tufnel, “like lukewarm water…” – a Spotify playlist is therefore not required 😉

JAPAN Don’t Rain On My Parade (1978)

Was this really the band who were to record ‘Ghosts’ four years later? You certainly wouldn’t have put your money on JAPAN becoming chart regulars by 1982 based on ‘Don’t Rain On My Parade’, a cover of BARBRA STREISAND’s set piece from ‘Funny Girl’ This hilarious two fingers rock thrash, with an unrecognisable David Sylvian snarling away, found an audience in Japan itself, which subsequently allowed them to develop into the artful combo they are better known as.

Available on the album ‘Adolescent Sex’ via Sony BMG Records

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

TEARS FOR FEARS The Way You Are (1983)

After achieving success with their angsty debut ‘The Hurting’, TEARS FOR FEARS’ label wanted an interim release. But after several months exploring their artier aspirations, the resultant single was poor. ‘The Way You Are’ was Curt Smith and Roland Orzabal trying to be JAPAN, only they weren’t very good at it! Smith said it was “probably one of the worst recordings I think we’ve done”. The change of direction to produce the rockier, more MTV friendly opus ‘Songs From The Big Chair’ proved to be far more fruitful.

Available on the album ‘Songs From The Big Chair – Deluxe Edition’ via Mercury Records

http://tearsforfears.com/

VISAGE Beat Boy (1984)

The lack of input from departed founder member Midge Ure as producer really exposed itself on VISAGE’s third long player ‘Beat Boy’. Most of the songs went on for far too long while Steve Strange’s flat, tuneless vocals and banal lyrics were allowed to run riot. Running for a painful six minutes on the album, even in edited single form, the title track really needed a ‘Go Faster’ stripe as the attempt to merge rock guitars with Fairlight stabs, vocal sampling and industrialised percussion failed miserably.

Album version available on the album ‘Beat Boy’ via Cherry Pop

http://www.visage.cc/

BRONSKI BEAT & MARC ALMOND I Feel Love / Johnny Remember Me (1985)

‘I Feel Love’ looked like a dream combination for Jimmy Somerville’s swansong with BRONSKI BEAT to be paired with the one-time SOFT CELL front man. But despite iconic songs such as ‘Love To Love You Baby’ and ‘Johnny Remember Me’ segued onto the main act, the well intentioned recording ended up a total cut ‘n’ paste mess with the poor stop / start edit into ‘Johnny Remember Me’ being particularly embarrassing. Meanwhile, the screaming match between Somerville and Almond was painful to the ears.

Available on the album ‘The Singles Collection 1984/1990’ via London Records

http://www.jimmysomerville.co.uk/

http://www.marcalmond.co.uk/

JOHN FOXX Enter The Angel (1985)

An attempt at crossing ‘Endlessly’ with ‘Like A Miracle’, the lukewarm ‘Enter The Angel’ from the ‘In Mysterious Ways’ album had none of the electro innovation of ‘Metamatic’ or the neu romance of ‘The Garden’. Featuring Eddi Reader from FAIRGROUND ATTRACTION on backing vocals, Foxx had gone all conventional and no longer stood out from the crowd like he once had. And the result was that the quiet man effectively retired from music until his 1997 re-emergence.

Available on the album ‘Modern Art: The Best Of’ via Music Club

http://www.metamatic.com

HOWARD JONES Look Mama (1985)

HOWARD JONES did much to further the cause of electronic music with his one-man synth act. But ‘Look Mama’, the second single from his second album ‘Dream Into Action’ was a tedious narrative about an interfering mother that was one of the weakest songs on the collection. Featuring a plethora of state-of-the-art digital sounds, their prominence was quite obviously to cover a weak tune. Amazingly, this one got into the UK Top 10!

Available on the album ‘Best: 1983 – 2017’ via Cherry Red

http://www.howardjones.com

THE HUMAN LEAGUE I Need Your Loving (1986)

THE HUMAN LEAGUE’s fifth album ‘Crash’ was largely rotten, save ‘Human’ and ‘Love Is All That Matters’, two Jam and Lewis numbers that were totally unrepresentative of Da League’s own sound. ‘I Need Your Loving’ had a crew of six on the writing credits, none of them members of the band! This had to have been a JANET JACKSON cast-off from ‘Control’… Phil Oakey has been many things but ALEXANDER O’NEAL he certainly wasn’t while Joanne and Susanne combined could never sound like CHERELLE!

Available on the album ‘Crash’ via Virgin Records

http://www.thehumanleague.co.uk

GARY NUMAN I Can’t Stop (1986)

A toss-up between this and ‘This Is Love’, these two singles from the distinctly below-par ‘Strange Charm’ both actually got in the UK Top 40… quite shocking when far superior songs from previous album ‘The Fury’ failed to make any chart impact as 45s. By 1986, Numan wasn’t really sure if he wanted to be THE POWER STATION or PRINCE so ‘I Can’t Stop’ was frankly, all over the place! Whatever, flying took more of an interest in his life, GARY NUMAN’s career dip would not be reversed until 1994’s ‘Sacrifice’.

Available on the album ‘Strange Charm’ via Eagle Records

http://www.numan.co.uk

ULTRAVOX Same Old Story (1986)

The signs had not been good when drummer Warren Cann was fired from the band for preferring to use programmed percussion. With the success of his solo career, Midge Ure was dictating a more conventional back-to-basics approach. But while the soulful backing vocalists, live drums and brass section on ‘Same Old Story’ kept ULTRAVOX sounding with the times, the bland played on. The poor title of the parent album ‘U-Vox’ summed it all up… a band with something missing!

Album version available on the album ‘U-Vox’ via EMI Music

http://www.ultravox.org.uk

A-HA Touchy! (1988)

Such is life, the brilliant predecessor ‘The Blood That Moves The Body’ only reached No28 in the UK singles chart. Instead, the public took its rather ordinary and annoying follow-up ‘Touchy!’ to No11! Devoid of the usual emotive but melodic melancholy that had made songs such as ‘The Sun Always Shines On TV’ and ‘Hunting High & Low’ so dramatically appealing, the lead synth brass line, which ubiquitous for the time, was particularly annoying!

Available on the album ‘Stay On These Roads’ via Warner Music

http://a-ha.com/

HEAVEN 17 The Ballad Of Go Go Brown (1988)

When Glenn Gregory appeared on the single sleeve wearing a Stetson, the writing was on the wall. ‘The Ballad Of Go Go Brown’ with its slide guitar and harmonica was the antithesis of the funky modernism that HEAVEN 17 had previously stood for. Martyn Ware’s success as a producer for artists such as TINA TURNER and TERENCE D’ARBY around this time proved he hadn’t lost his creative nous… but for now, the once innovative trio had run out of steam.

Available on the album ‘Play To Win: The Best Of’ via Music Club Deluxe

http://www.heaven17.com

NEW ORDER Fine Time (1988)

NEW ORDER had largely been acknowledged as a supreme singles act… until this! ‘Fine Time’ spoilt an otherwise brilliant album in ‘Technique’. A sly send-up of the acid house scene, even Bernard Sumner admitted it was “a novelty record”. A pitch shifted vocal was made to sound like an inebriate jackmaster impersonating Barry White, while the messy backing track was complimented by some bleeting sheep. One thing good about the single edit though is that it’s one and a half minutes shorter than the album version!

Available on the album ‘Singles’ via Rhino Records

http://www.neworder.com/

EURYTHMICS Revival (1989)

1987’s ‘Savage’ album was a laudable attempt by Annie Lennox and David A Stewart’s to get back to their electronic roots after their overt flirtation with America for their previous two long players ‘Be Yourself Tonight’ and ‘Revenge’. But to launch the 1989 album ‘We Two Are One’, EURYTHMICS got all bland again on ‘Revival’. The squelchy synth bass could not disguise a lifeless tune that ironically, despite its rhythm ‘n’ blues influences, was lacking in soul.

Available on the album ‘We Too Are One’ via RCA / Sony BMG Records

http://eurythmics.com/

DURAN DURAN Violence of Summer (1990)

DURAN DURAN’s cover of ‘White Lines (Don’t Do It)’ is more comical than awful! But ‘Violence Of Summer (Love’s Taking Over)’ was a poor relaunch of their classic five-piece band format with guitarist Warren Cuccurullo and drummer Sterling Campbell joining the fold, following two albums as a trio. What they forgot to add to the line-up though was some tunes… unsurprisingly, ‘The Violence Of Summer’ has never made it onto any DURAN DURAN compilation CDs, even the budget ones!

Available on the album ‘Liberty’ via EMI Music

http://www.duranduran.com

SIMPLE MINDS She’s A River (1995)

For SIMPLE MINDS’ worst commitment to the singular format, it was tempting to list ‘Belfast Child’ or their cover of PRINCE’s ‘Sign O’ The Times’, but ‘She’s A River’ wins out. With overblown guitar histrionics, big drums and a virtually anonymous verse with no hook, this plodding number surprisingly reached No20 in the UK charts. Bizarrely, pop duo HURTS revived the template of ‘She’s A River’ for the even more appalling ‘Miracle’ in 2013!

Available on the album ‘Good News from the Next World’ via Virgin Records

http://www.simpleminds.com

PET SHOP BOYS New York City Boy (1999)

PET SHOP BOYS are as perfect singles act as you can get, but even they were not flawless. For their worst offering, it was a close race between the inappropriately titled ‘Winner’ and the camp OASIS of ‘I Get Along’. But ‘New York City Boy’ has to be Neil Tennant and Chris Lowe’s least convincing single. While ‘Go West’ took a VILLAGE PEOPLE song and applied an elegiac PET SHOP BOYS template, ‘New York City Boy’ was misguided attempt to try and actually be New York’s favourite disco queens.

Available on the album ‘Nightlife’ via EMI Music

http://www.petshopboys.co.uk

KRAFTWERK Expo 2000 (2000)

In a scandal equivalent to the UK’s Millenium Dome project, KRAFTWERK pocketed 400,000 Deutsch Marks for a five syllable processed voice jingle for (yes you’ve guessed it) Expo 2000! At the time, it was KRAFTWERK’s first new composition for 14 years. Lacking the percussive drive that had been previously provided by the now-sadly absent Karl Bartos and Wolfgang Flür, ‘Expo 2000’ was a meandering, formless ditty which lacked the rich, klassik melodicism that made KRAFTWERK great.

Available on the single ‘Expo 2000’ via EMI Music

http://www.kraftwerk.com

DEPECHE MODE Peace (2009)

‘Sounds Of The Universe’ is such a dire body of work. So surreally imagine as a diversion from its uninspired electro blues rock, John Lennon trying to write a KRAFTWERK song during THE BEATLES sessions that produced ‘Across The Universe’? Sounds interesting doesn’t it? DEPECHE MODE worked on the concept but came up with the ghastly ‘Peace’. No pleasures remained as the strained and nauseating chorus, attached to a lame verse, was more likely to harm diplomatic relations.

Available on the album ‘Sounds Of The Universe’ via Sony Music

http://www.depechemode.com

OMD If You Want It (2010)

For anyone who had loved OMD’s pioneering early catalogue, ‘If You Want It’ was horrid. An attempt at a soaring OASIS styled anthem, ‘If You Want It’ was certainly not what fans were expecting. With an excruciatingly high key and a joint compositional credit to Tracey Carmen, who had worked with Andy McCluskey’s girl group creation ATOMIC KITTEN, its true origins can only be guessed at. But thankfully, OMD managed to snatch victory from the jaws of defeat with 2013’s ‘English Electric’ opus.

Available on the album ‘History Of Modern’ via Blue Noise

http://www.omd.uk.com

ERASURE When I Start To (2011)

On paper, things were not promising as the severely over rated FRANKMUZIK was recruited to apply his modern dance production aesthetic to Andy Bell and Vince Clarke’s classic synthpop on the ‘Tomorrow’s World’ album. But its first single ‘When I Start To (Break It All Down)’ sounded like a rather anodyne TAKE THAT ballad and Bell’s voice was strained to an auto tuned flatness, lacking power and soul. Luckily in 2014, Richard X came on board for ‘The Violet Flame’ and saved the day.

Available on the album ‘Tomorrow’s World’ via Mute Artists

http://www.erasureinfo.com

Text by Chi Ming Lai
17th January 2015, updated 22nd January 2018

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