Tag: The KVB (Page 1 of 2)

CURSES Presents: Next Wave Acid Punx DEUX

Berlin-based musician and DJ Luca Venezia, better known as CURSES, presents ‘Next Wave Acid Punx DEUX’, his second curated compilation exploring the darker side of club music though the decades. The first volume had been a lockdown inspired exploration of his own record collection.

Released by Eskimo Recordings and featuring 49 tracks, the music is split into three distinct chapters with more than half being previously unreleased; “Many of these songs come from friends close of mine, or artists I perform with and tour with a lot, whose music and craft I admire and champion.” Luca Venezia told ELECTRICITYCLUB.CO.UK about the set, “We are all making a very niche style of music, and everyone is approaching it in their own unique way, it is only natural we migrate to be friends and share the stage together… like a primal instinct.”

Conceived with his ideal night out in mind, compiling such an compilation was not without its headaches; “Fortunately with the help of Eskimo and N.E.W.S., the licensing team are an absolute powerhouse” recalled Venezia, “It wasn’t easy, especially the older material, like Malcolm McLaren’s ‘Madame Butterfly’… and yes, there was SO much music I wanted but couldn’t get the rights to. Not because the artists said no, but because it was impossible to find WHO owned the rights now. Members in bands split up, some pass away, some vanish… it’s a puzzle at times to license the 80s underground electronic gems”.

Chapter 1 contains the pioneering acts of the past that were occasionally signed to major labels and even flirted with the mainstream pop charts. The set opens with ‘Distant Dreams Pt 2’, a wonderful suitably obscure 1980 B-side from THROBBING GRISTLE, while another lesser known gem comes from BIG AUDIO DYNAMITE with ‘The Big V’, the instrumental variant of the 1986 single ‘V. Thirteen’.

The first name likely to be recalled when dark club music comes to mind, especially to Taylor Swift fans, are CABARET VOLTAIRE and they fit like a glove on this compendium with ‘Blue Heat’ from ‘Micro-Phonies’, as do Dutch band CLAN OF XYMOX with ‘Obsession’, an excellent example of classic electro-goth disco.

Of course, NITZER EBB are present and correct with ‘Hearts & Minds’ while DAF stand firm with their declaration as ‘Brothers’ in their appealing but less heralded English language disco phase.

Collecting superb tracks from various acclaimed cult acts, ‘The Murder Of Love’ by PROPAGANDA and the I Dream Of Jeanne Mix of ‘Modigliani (Lost In Your Eyes)’ by BOOK OF LOVE demonstrate how the developing digital technology enabled powerful sampled sounds effectively at the flick of a switch. However, best of all are former SOFT CELL backing singers VICIOUS PINK who really should have had a huge worldwide hit with the brilliant Tony Mansfield produced ‘Cccan’t You See’

Chapter 2 moves the night on starting with ‘Voloczny’, an unreleased song from back in day by BOYTRONIC towards the present with modern day electronic producers such as Jennifer Touch and Kris Baha. In a new 2023 version, THE KVB come over like THE JESUS & MARY CHAIN with synths on ‘Still Warm’ while YEARS OF DENIAL capture plenty of stark menace on ‘It Sucks.

Canadian wife-and-husband duo ESSAIE PAS provide enigmatic prose en Français over a cascade of pulsing synths on ‘Retox’ while Berlin-based trio DINA SUMMER update the gothic disco template on ‘Darkness’. Affirming the international cast of ‘Next Wave Acid Punx DEUX’, Spain’s DAME AREA go on a heavier industrial club excursion via ‘Buon Cittadino’ but on the opposite side of the coin and Atlantic, DESIRE offer enigmatic coyness on ‘Love Races On’ outside of their Italians Do It Better stable.

Chapter 3 is the part of the night you probably should go home but don’t… a wilder, harder and more aggressive energy is here if you so desire. There is naturally a Dark Remix of ‘Machina’ from BOY HARSHER with guest vocals by Mariana Saldaña. But utilising tense triplets and brassy melodramatic stabs, CURSES revamps J.W.B. HITS THE BEAT’s ‘Body On Body’. CURSES returns to remix NUOVO TESTAMENTO’s ‘Heartbeat’ and there is an enjoyable instrumental in ‘Non Fiction’ by SILENT SERVANT.

Two of the best tracks come via Australia; ‘Burning Eyes’ is a Hi-NRG romp with wispy voice ad-libs courtesy of NEU-ROMANCER and ZANIAS’ ‘Tryptamine Palace’ is a tremendous textural dance track. ANDI VS RANDOLPH & MORTIMER make their presence felt with big beats on ‘Formidable Truths’ while Michel Amato aka THE HACKER does not disappoint with the previously unreleased ‘Monopoly’. To end, Greek synth duo PARADOX OBSCUR make a beefy contribution in ‘Evo-Devo’ that recalls French art pop duo LES RITA MISOUKO.

On the spiritual and musical thread that helped make this cohesive collection, Luca Venezia surmised: “Every artist involved has their own personal and unique take on the timeless love affair between human and machine. All the music on ‘DEUX’ also embraces the punk and DIY raw energy of live music into electronic music; artists LIKE YEARS OF DENIAL, BOY HARSHER, NUOVO TESTAMENTO, NITZER EBB, BOYTRONIC and DINA SUMMER are all good examples of how the music is very personal, verse chorus verse song-based concert music, yet can also be DJ’d in a club at 4am in a dusty thriving warehouse rave.”

Music from the past and present can sit comfortably together in the same place and ‘Next Wave Acid Punx DEUX’ proves it.


With thanks to Luca Venezia and Mirren Thomson at Eclectica

‘Next Wave Acid Punx DEUX’ is released by Eskimo Recordings, available now as three separate chaptered double vinyl albums, a three chapter vinyl combo pack, a triple CD box set and high quality download direct from https://cursesforever.bandcamp.com/album/next-wave-acid-punx-deux-2

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Text by Chi Ming Lai
7 November 2023

Introducing R. MISSING

New York City-based darklings R. MISSING are fronted by Sharon Shy, a vocalist with an elegant Jane Birkin-like presence while the studious Toppy Frost does the music.

Shy has been quoted as saying “While most people seem to bond over things they both like, I think it was a very long shared list of dislikes that kept our initial conversations going”.

Previously going under the moniker of THE ROPES with gloomy indie fare such as ‘Love Is A Chain Store’, R. MISSING are much more electronic if no less enigmatic, exploring more shadowy forms akin to other North American acts such as CHROMATICS, TR/ST and NATION OF LANGUAGE.

Their debut six track mini-album ‘Unsummering’ came out in 2017 on the French label Talitres with the doom disco of ‘Kelly Was a Philistine’ being particularly intriguing, although the pair’s post-punk tendencies were still very much looming the brooding title track. The 2020 singles ‘Suzywhereabout’ and ‘Placeholder For The Night’ signalled airier developments in their increasingly synthier sound.

But on signing to Sugarcane Recordings who have been a North American home to artists such as SIN COS TAN, GUSGUS, PROCESSORY, GAZELLE TWIN, FRAGILE SELF and THE KVB, the wonderful new single ‘Crimeless’ is R. MISSING’s most electronic pop noir statement yet, like CHROMATICS carefully reconfigured for the dancefloor with Sharon Shy presenting a whispery singing style that could easily be mistaken for Ruth Radelet.

Accompanied by a video made by Nadia Hironaka and Matthew Suib, it is a variation on their 2019 installation ‘Vanitas MMXVlll’. Using still life like half-eaten fruit, broken glass, snapped candles, wilting flowers and skulls falling upwards in slo-mo, its original concept was “to reflect our current cultural moment, where formerly stable institutions that once embodied shared values are undermined while pride and avarice have been elevated to virtues”.

As if to reinforce R. MISSING’s fully focussed electronic direction, Icelandic label mates GUSGUS provide two tight dance remixes for ‘Crimeless’ although THE KVB contribute something with more of a psychedelic shoegaze demeanour that also acts a reflection of Shy and Frost’s roots. It could all get very interesting…


‘Crimeless’ is released by Sugarcane Recordings as a single bundle with remixes by GUGGUS and THE KVB, it is available now as a download direct from https://sugars.bandcamp.com/album/crimeless

https://rmissing.com/

https://www.facebook.com/rmissingmusic

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https://www.instagram.com/r.missing/

https://www.hironakasuib.com/


Text by Chi Ming Lai
11th May 2021

MARK REEDER Subversiv-Dekadent

‘Subversiv-Dekadent’ was the East German Secret Police classification given to Berlin-based producer and remixer Mark Reeder in his STASI file.

On Mayday 1982, Mark Reeder paid a visit to the DDR part of the then-walled city and while he was taking photos of the grand parade, he was arrested by the STASI and taken in for interrogation. He had been under surveillance as they suspected he was working for M16 and about to assassinate their esteemed leader Erich Honecker… either that or he going to corrupt the youth of East Germany with pop music!

Indeed, it was the latter; but for those who received Reeder’s smuggled-in cassettes of JOY DIVISION, NEW ORDER and the like, it was more like an education as fictionally documented when Mark Reeder lookalike Martin Rauch, HVA agent codename Kolibri, in ‘Deutschland 83’ lit up with joy on hearing DURAN DURAN for the first time on that prize symbol of capitalism, the Sony Walkman!

During those tense Cold War times of East versus West and The Iron Curtain, all the eternally optimistic Reeder wanted to do was to unite people through music. So when The Berlin Wall fell at the end of 1989 and the imminent threat of nuclear holocaust was lifted with the promise of a better, more open-minded world, he did his bit by establishing Masterminded For Success (MFS), a dance label that achieved great success across the European club scene.

Fast forward to the 21st century, and the world is struggling with narcissists despite a pandemic crisis, driven into conflict by power, corruption and lies by that age-old management and control technique of “divide and rule” which most citizens understand but ultimately fail to actually recognise.

A recognised internationalist, Mark Reeder is doing his bit again by issuing a double album named after his STASI classification of productions and remixes made by himself and his engineer Micha Adam. Celebrating his cross-border artistic ethos, where the songs have been restyled, he has added guitar, bass and synths while he has also lent his spoken voice to his own solo productions.

‘Subversiv-Dekadent’ is bookended by Fifi Rong who Reeder first met at the Berlin Kraftwerk in 2016 when she was singing in concert with Swiss trailblazers YELLO. The first track ‘Figure of 8’ is a magical new collaboration between the two with a cinematic backdrop of sparse piano and glistening sequences over which the exquisite Chinese songstress adds her distinctive air of mystery to a more metronomic rhythm construction than perhaps heard on her own work.

Closing the collection, Reeder offers ‘The Present is a Gift Mix’ of Fifi Rong’s 2016 single ‘Future Never Comes’, an eerie and very Berlin-inspired concoction where Chinese musical theatre meets electro Weimer Cabaret via Synth Britannia for a haunting slice of initial after brilliance

YELLO themselves appear via the superb ‘Wet&Hard Remix’ of ‘Vicious Games’; tightened up and given a modern treatment without losing the essence of the 1985 original with the sexy vocals of Rush Winters given the spotlight.

The original ‘Vicious Games’ was an intricately woven patchwork of samples and Reeder even amusingly drops in an ‘I Feel Love’ sequence during the middle eight.

‘United’ by QUEEN OF HEARTS was one of the outstanding highlights from Reeder’s previous 2017 collection ‘Mauerstadt’ and making a welcome appearance on ‘Subversiv-Dekadent’ is the track that precipitated his union with frontfrau Liz Morphew; dressed with cooing vampishness, the ‘Electrically Excited Remix’ of ‘Neon’ is nearly 8 minutes of gently energetic Schaffel.

Both having also appeared on ‘Mauerstadt’, MFU return with a ‘Brexile Remix’ of ‘Law’ that is a blend of distorted guitars, synth pulses and post-punk Mancunian vocals while THE KVB have ‘White Walls’ remodelled as a ‘Stoner Remix’, which is actually a fairly good description despite the frantic arpeggio and claustrophobic string machine.

China’s STOLEN are considered by Reeder to be the most exciting band he’s seen since NEW ORDER and his ‘Sinner Remix’ of ‘The Loop Sin’ is another of his classic productions; full of heavy propulsive grit and live textural enhancements, this denser but more compact version applies an extra bounce on the bass and highlights why the Chengdu six-piece were chosen to open for NEW ORDER on their European tour on 2019.

Of course, Reeder is known for his close friendship with NEW ORDER and his remixes of ‘Singularity’, ‘Academic’ and ‘The Game’ were notable for improving on their initial guises from the ‘Music Complete’ album. His driving ‘Cheeky Devil Remix’ of their most recent single ‘Be A Rebel’ presents a more rigid staccato treatment before tripleting in the chorus while adding guitars that were actually absent from the original mix.

One notable new inclusion to the Mark Reeder portfolio is BIRMINGHAM ELECTRIC led by Dutch-based American Andrew Evans whose previous singles ‘Light of the World’ and ‘Moving Target’ featured long-time OMD drummer Malcolm Holmes; The ‘Crying Remix’ of ‘How Do We End Up Here?’ is a rather good vibey tune with vocoder treatments like a disco lento AIR.

‘Subversiv-Dekadent’ is not just about remixes and Reeder gets to fly solo as well. The percussive ‘21st Century Girl’ sees him quoting from cult TV show ‘The Prisoner’ as his soundtrack penetrates with its almost industrial demeanour, augmented by a guitar lick reprise from his own Save Yourself Mix of ‘Manifesto’ by BLANK & JONES and a cheeky burst of T-REX’s ‘20th Century Boy’,

Described by Reeder himself as “a Wet&Hard trilogy”, the three part ‘You Can Touch Me’ starts in a moody mantric fashion with groans and synth sweeps, before pacing up with a growly bass. It all seems a bit superfluous at first but it sets the scene and gets progressively hypnotic, segueing into a propulsive rumbling section that adds more menace to an already sinister track. As Reeder impassively asks “do you want to touch me?”, it eventually slows down after a frenzy of frenetic rhythmic clatter. This is fine provocative dance music if a little too long, but when it hits the spot during the majority of its 13 minutes, it is mighty!

‘Children Of Nature’ was Reeder’s fine 2019 long player with Alanas Chosnau, best known as one of Lithuania’s biggest singing stars with his penchant for DEPECHE MODE. In an ‘Unpredictable Remix’, ‘Love Of My Life’ mutates into something more minimal but harder compared with the original mix. Meanwhile, in collaboration with Mr Sam and Rani Kamal, ‘I Surrender’ is soulful pop given a shadier new wave treatment with the incongruity adding more tension.

‘Dead Souls’ from Hong Kong domiciled Mexicans DEER Mx is not the JOY DIVISION song but a fit of snarling aggression and strident gothic drama to electronic screeches not heard since ‘Crazy Horses’ by THE OSMONDS. Ending with sampled blasts of mariachi trumpets in the background, it is delightfully odd. However, the heavy deadpan resonance of LIARS and ‘Staring at Zero’ will not be for everybody although their eccentric frontman Angus Andrew has declared Reeder’s ‘Two Thousand Yards Stare Remix’ as his favourite of his own work.

Already rock focussed, ‘Coked Up Biker Anthem’ from New York-based Zachery Allan Starkey sees Reeder realise some of his mad axeman fantasies with his guitar enhanced ‘Leather & Beers’ rework by taking the dystopian metal original into even more speedy Alice Cooper territory. But with an icy build, CEMETERY SEX FAIRIES’ ‘Tanz Allein’ sees a move away from Reeder’s usual four-on-the-floor template and maintains an enjoyably creepy quality with the scary German Grimm tales vocal.

While many purchasers will be NEW ORDER and YELLO completists after the exclusive remixes on ‘Subversiv-Dekadent’, this Mark Reeder collector has so much more to offer. As well for presenting his sometimes lesser-lauded abilities as a composer, it also provides a platform for emergent acts from all around the world to be discovered.

Despite being regarded as ‘Subversiv-Dekadent’, through music Mark Reeder has unified more people than any politician has. In this modern online environment, the influence of music is more international than ever. It makes people connect, love, dance, escape and protest. This diverse collection does that, and isn’t that what music is all about.


‘Subversiv-Dekadent’ is released by MFS as a download double album, available from https://markreedermfs1.bandcamp.com/album/subversiv-dekadent

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https://open.spotify.com/album/0XRaQMRD4ILpdRetyRvBo6


Text by Chi Ming Lai
12th March 2021

BOY HARSHER Careful


BOY HARSHER formed through an urgent need to produce and consume, so by the winter of 2014, Jae Matthews and Augustus Muller started to experiment with sound, video and text.

With just a few synths, a drum machine and a laptop, their second full length album ‘Careful’ was conceived in Massachusetts, with the duo utilising their minimal electronics and intense demeanour to create a compelling narrative of a deteriorating family and a need to escape from it, expressing an understanding of love and loss, fear and joy, tenderness and pain.

An introductory mood piece ‘Keep Driving’ opens ‘Careful’ with a building percussive mantra, but the stark drama of ‘Face The Fire’ is eerie and unsettling while also accessible, with driving drum machine rhythms and cosmic synth hooks all present and correct, despite Jae Matthews’ expressions of discomfort. Meanwhile, ‘Fate’ is a brilliant sister song to ‘Face The Fire’, coming over like ADULT. meeting THE KVB with hints of SAVAGES too.

‘LA’ features a wonderfully incongruous mix of icy string synths and orchestra stabs for an enticing display of mutant electronic disco, but brilliantly sinister thanks to its varied use of effects and Matthews’ mournful demeanour. Things get even more urgent and frantic with the pulsating ‘Come Closer’, its rhythmically threatening backbone and fraught tension providing an uneasy but thrilling listen!

What is captivating about ‘Careful’ is the fabulous range of synthetic sounds on display, as exemplified by ‘The Look You Gave (Jerry)’, a perfect number for those seeking substance craving a darker edge to their synthpop… and yes BOY HARSHER are pop because they do have tunes, even if they dress them up in an appealingly unconventional and morose manner.

‘Tears’ follows the pattern laid down of ‘Careful’, strangely chunky and danceable with Matthews all deviantly alluring, while the more abstract ‘Crush’ takes proceedings down in a suitably claustrophobic manner. A steadfast hypnotism appropriately directs ‘Lost’ towards the final straight before a short cerebral conceptual piece for the closing title track.

With ‘Careful’, BOY HARSHER have refined their template without losing any of their unsettling edge. This is the first really great album of 2019, with the six song sequence from ‘Face The Fire’ to ‘Tears’ particularly outstanding.

With that, the final third does suffer slightly in comparison but this does not detract from what an excellent work this is, a fine musical document confronting personal demons and traumas.


‘Careful’ is released on 1st February 2019 by Nude Club Records in neon orange vinyl LP, CD, cassette and download formats, pre-order from http://www.boyharsher.bandcamp.com

BOY HARSHER play the following UK dates:

Bristol Lanes (24th February), Leeds Wharf Chambers (25th February), Manchester Soup Kitchen (26th February), London Heaven (27th February)

http://boyharsher.com

https://www.facebook.com/boyharsher

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http://nudeclubrecords.com


Text by Chi Ming Lai
Photo by Nedda Afsari
21st January 2019

BOY HARSHER Fate


Following up the moody cosmic synthpop of ‘Face The Fire’, Massachusetts duo BOY HARSHER have issued a second single ‘Fate’ from their forthcoming sophomore album ‘Careful’.

Coming over a bit like ADULT. meeting THE KVB, the pairing of Jae Matthews and Augustus Muller first started working together in 2014 through a need to produce and consume, experimenting with sound, video and text.

Their first full length album ‘Yr Body is Nothing’ came out in 2016 and featured the gloomy single ‘Last Days’. ‘Fate’ is comparatively brighter but no less introspective, with a spiky electronic hook and hypnotic staccato bass line laced with Matthews’ hazy nonchalant vocals and layers of disconcerting synthesizers.

“This song is about how there’s no amount of running that will prevent you from your life” the duo explain, “You are raw and beat-down, yet you will continue to behave the same way – Fate is your own trouble, a magnetic force that’s stuck on you forever.”

With suitably blood curdling horror video directed by Bryan M. Ferguson recalling the Scarlet Johansson art horror flick ‘Under The Skin’ but without the nudity, it too was also filmed in Glasgow, the city where you go out for a laugh but leave in stiches…

Out in February 2019 via their own Nude Club Records imprint, ‘Careful’ is said to see BOY HARSHER “use the medium of minimal electronics to create a compelling narrative of a deteriorating family and the reaction to run away from it”.

Embroiled in Matthews and Muller’s emotional surroundings and potentially self-destructive creative tension, it attempts “to detail the enveloping trauma of loss combined with the fantasy of escape”.


‘Fate’ is from upcoming album ‘Careful’ released on 1st February 2019 by Nude Club Records

BOY HARSHER play the following UK dates in 2019: Bristol Lanes (24th February), Leeds Wharf Chambers (25th February), Manchester Soup Kitchen (26th February), London Heaven (27th February)

http://boyharsher.com

https://www.facebook.com/boyharsher

https://twitter.com/boyharsher

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Text by Chi Ming Lai
Photo by Nedda Afsari
24th December 2018

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