The Dublin-based electronic explorer Peter Fitzpatrick is best known under his CIRCUIT3 moniker his melody-driven synthpop that wears its classic Synth Britannia influences proudly on its sleeve.
Yet, on his latest long player, ‘Metanoia – Music From Therapy’, Peter Fitzpatrick takes a sharp, courageous detour. He steps away from the comfort of structured pop songs to construct a deeply personal, spacious and quietly expressive suite of minimal instrumentals. A Greek term meaning “a transformative change of heart”, ‘Metanoia’ serves as a sonic diary of the slow but ultimately liberating process of modern psychotherapy. Rather than using words, Fitzpatrick chooses to let his analogue instrumentation do the talking.
The record opens with the disquieting ‘Cracked Eyes’. Reaching back into the fragile memories of childhood, its slow-moving sonic aural clusters are highly reminiscent of Brian Eno’s ‘Neroli’, floating in a sea of beautiful, melancholic isolation. This transitions into ‘Mood’, an abstract piece that captures those feelings which are still too shapeless to name.
‘Imperfect’ introduces gentle, rhythmic pulses that lend a distinct Germanic quality to an otherwise eerie haunting atmosphere with an icy Kosmische precision. The darker mood deepens on ‘Burnout’, where shady, bubbling modulations evoke the rich, textured work of Richard Barbieri formally of JAPAN. Then the clouds part as ‘Where Are We Going?’ introduces an acoustic piano, bringing a sudden burst of daylight in a moment of peaceful reflection.
Photo by Jackie Hudson Lalor
The second part of the album explores the mechanics of recovery. ‘Shielding From The Past’ utilises an ambient drone that is beautifully countered by a melodic call, acting as a metaphor for the psychological walls people build and the courage it takes to dismantle them. ‘What If Everything Goes Right?’ blends a cascading sequencer run with the haunting snaps of a synthetic male choir in a hopeful highlight to savour.
The emotional centrepiece of ‘Metanoia’ is undoubtedly ‘The Hope’, an 11 minute collaboration with Vince Clarke; here he applies his signature melodic textures to Fitzpatrick’s cerebral lattice. The resulting soundscape echoes Clarke’s ambient collaborations with Martyn Ware on ‘Pretentious’ and ‘Spectrum Pursuit Vehicle’ for an expression of restraint where hopelessness and hope exist alongside each other.
‘Metanoia’ is CIRCUIT3’s journey into electronic minimalism for a vulnerable and deeply cinematic piece of art. It is an illustrious body of work that deserves to be savoured for its undoubted and intended therapeutic possibilities.
Without doubt, Vince Clarke is a supreme pop genius with a run of hits that began in 1981 with DEPECHE MODE and continued with YAZOO, THE ASSEMBLY and ERASURE.
There have also been collaborations with Jean-Michel Jarre, Paul Hartnoll, Martyn Ware, Ana Brun and the late Robert Marlow as well as numerous remixes. 26 have been chosen by Vince Clarke himself on this new Cherry Red collection ‘Remix / Remodel’ with many of the tracks never having been released on a physical product before.
While Clarke’s programmed synthesized melodies and counter-melodies are desired textures in pop, what he is first and foremost is a songwriter. So with that in mind, this collection of remixes for other artists has many variables with the end result dependent on time, budget, connections and reciprocal arrangements.
These Vince Clarke remixes successfully work in some unexpected quarters; Johnny Marr’s ‘Spirit Power & Soul’ is superb and somehow, Clarke has turned THE SMITHS guitarist into classic DEPECHE MODE. And speaking of his former band, Clarke’s Extended Vocal take on ‘Behind The Wheel’ is darkly hypnotic but it doesn’t come close to the totally brilliant Shep Pettibone single remix which came out in its own right in 1988 and surpassed the underwhelming ‘Music For The Masses’ album version.
From 1988, the Vince Clarke remix of HAPPY MONDAYS’ ‘WFL Wrote For Luck’ was considered incongruous back in the day but this indie dance hybrid still packs a punch under the strobe lights. FRANZ FERDINAND’s ‘No You Girls’ gets an enjoyable electro-disco makeover while the SAINT ETIENNE instrumental ‘Blue Kite’ is given more form under the watch of Clarke who uses THE GRID’s ‘Floatation’ as his blueprint. With WARRINGTON-RUNCORN NEW TOWN DEVELOPMENT PLAN’s ‘A Shared Sense Of Purpose’ getting its hauntology backdrop percussively industrialised, the hypnotic ‘Faito’ by Clarke’s own VeryRecords signings ALKA benefits from the interventions of the boss which come over very Jean-Michel Jarre.
However, the understated ballad ‘Almost’ by OMD, which is said to be the song turned Clarke onto the synthesizer, does not benefit from his busier interventions which have been retrospectively added 40 years after the song was recorded. Similarly, the treatment of SOFT CELL’s ‘Bedsitter’ under the ERASURE banner does not work either but perhaps the original version is just too known for any remix to stand a chance. For that reason, one would expect his remix of Andy Bell’s ‘Dance For Mercy’ to possess the bounce of ERASURE but it ends up being a rather ploddy guitar-based number!
Girl group THE SATURDAYS were at one point virtually glued to the hips of Vince Clarke, what with their ‘Situation’ sampling debut single ‘If This Is Love’ in 2008 and a cover of ‘Just Can’t Get Enough’ in 2009. In between was Clarke’s remix of their third single ‘Issues’ but it chugs away without any real consequence, as does ‘I Wanna Get Better’ by BLEACHERS aka Vince Clarke fan and Taylor Swift producer Jack Antonoff.
In a collection that is more miss than hit, what is missing? ELECTRICITYCLUB.CO.UK would have included Clarke’s remixes of ‘Other Too Endless’ for Polly Scattergood, SPARKS ‘When Do I Get To Sing My Way?’, Alison Moyet’s cover of ‘Whispering Your Name’, Robert Görl’s ‘Part 1’ and NITZER EBB’s ‘Ascend’ while preferring ‘Before’ by VeryRecords signings Reed & Caroline over the included ‘Electrons’. There are some excellent reworkings on this collection but ‘Remix / Remodel – The Vince Clarke Remixes’ is ultimately for completists only.
First there was ELECTRONIC with the nucleus of Bernard Sumner and Johnny Marr plus occasional guests Neil Tennant, Chris Lowe and Karl Bartos, but there is a new supergroup in town and they are called DOUBLESPEAK.
Their self-titled album began in 2017 as a collaboration with BLANCMANGE’s Neil Arthur and Vince Clarke of ERASURE; the pair had known each other for many years since the latter’s DEPECHE MODE days and it was while holidaying together in Tenerife that they each came up with the idea of covering ABBA while listening to a cassette of their compilation ‘The Singles: The First Ten Years’. There was also an aborted joint YAZOO and BLANCMANGE recording of ‘It Takes Two’, a song made famous by Marvin Gaye and Kim Weston, as well as a version of ‘Who Needs Love Like That’ intended for THE ASSEMBLY on which Arthur provided vocals.
So Arthur and Clarke joined forces to put a unique spin on songs from the past with the oldest coming from 1967. The third man brought in to get DOUBLESPEAK over the line is synth-auteur Ben ‘Benge’ Edwards who had worked with Arthur on BLANCMANGE and FADER albums as well as collaborating with John Foxx, John Grant and Stephen Mallinder of CABARET VOLTAIRE.
With songs from post-punk, country, easy listening, mainstream pop and DIY synth, DOUBLESPEAK reimagine the familiar and reinvigorate the little-known or forgotten for an electronic pop audience. It was Arthur who chose and dissected the majority of the songs but with those that were previously unknown to Clarke or Benge, the pair treated them as thought they were new compositions and avoided referring back to the originals.
Opener ‘Back To Nature’ is a fine tribute to Fad Gadget but with a tougher menace although the original was electronic, this is perhaps the least essential of the set. ‘Day Breaks, Night Heals’ by Thomas Leer and Robert Rental which was another cult favourite from that same trailblazing British DIY synth era of 1979 fairs better attached to a more futuristic dance beat. These are 2 songs which may not necessarily be known among BLANCMANGE and ERASURE fans, so if their inclusion on this DOUBLESPEAK album provokes curiosity and further investigation, that is a positive.
However ‘Rock On’ gets a fabulous new vision, the David Essex international smash has its original dub-ish bass recast as a bent icy squelch while Neil Arthur takes the vocal down to something more deadbeat sinister. From 1980, the rhythmic backdrop of THE SOUND’s ‘I Can’t Escape Myself’ goes metal on metal as the scratchy guitar-driven original now cuts synthetically while the angsty spirit gets a baritone twist… this is what doing electronic covers is all about!
ABBA’s stark take about political dissidents awaiting arrest ‘The Visitors’ was suggested by Clarke. In 1981 just across the Baltic sea from Sweden were Estonia, Latvia and Lithuania which were then part of the Soviet Union and Eastern Bloc dissidents would plan their escape to the then-neutral country; DOUBLESPEAK do the song justice to the original by retaining the Cold War tension of its dark lyric whilst eschewing the original synth melody.
Having been demoed by BLANCMANGE and released as a bonus track for the 2018 boxed set ‘The Blanc Tapes’, Neil Arthur gets a proper go at ‘Gentle On My Mind’; a country song written by John Hartford and recorded by Dean Martin, Glen Campbell, Val Doonican and ‘Switched On Nashville’ exponent Gil Trythall, our hero gets into his crooner sweater and rocking chair. With Clarke providing a very simple and slower synth riff as its centre, as the cross melodies sweep in, the end result is otherworldly.
Fronted by Alison Statton, Welsh independent trio YOUNG MARBLE GIANTS were music press darlings back in the day with their only album ‘Colossal Youth’ released on Rough Trade; the originally plaintive ‘Brand New Life’ gets a gentle minimal rearrangement. Already quite electronic, THE MAGNETIC FIELDS ‘Smoke & Mirrors’ from 1995 actually sounded like BLANCMANGE in its original form but DOUBLESPEAK give it a bounce, a bleep and a buzz for something quite delightful in that classic Vince Clarke vein for the best track on the album.
A MOR standard that has also been covered by Midge Ure, THE CARPENTERS’ ‘Goodbye To Love’ is an interesting choice with the lush backdrop forsaken for an avant pop tapestry. Credit where credit is due for uncovering it to the extent that it becomes almost unrecognisable with Arthur’s electronically treated voice adding another twist.
From more comparatively recently, it’s not difficult to imagine experimental singer-songwriters Ed Dowie’s ‘Richard!’ being released on Factory Records back in the day. So with the early comparison often made with Neil Arthur’s vocals to Ian Curtis, this is apt and comes through the dark with a purposely off-key vocal that is saved by the bells and the crisp synth lines.
A fitting thematic closer, ‘End Credits’ by LAPTOP from 2001 is given a slightly pacier tempo; written by New York-based indie electronic composer Jesse Hartman, the lyrics refer to being dumped via an answerphone message so make perfect foil for Neil Arthur’s cynical delivery. Swathed in icy string machine, it suits him so much that it could easily be mistaken for a post-2011 BLANCMANGE song.
‘Doublespeak’ is a strangely connected record despite being largely made remotely over a long period of time by three people who were never in the same room with Clarke and Benge having never met in person. Most of the choices of song are interesting if nothing else and the end result is an enjoyable listen for anyone who likes synths and covers.
‘Doublespeak’ is released by London Records, available as a vinyl LP, CD and download
Just as it looked like it would be safe to come out to play, there was uncertainty within the music industry again.
What had become the artists’ favourite platform thanks to its low commission and 0% Fridays, Bandcamp was taken over by Epic Games in 2022 but then following a move by employees to unionise, was sold to Songtradr who immediately dismissed half of its staff… in hindsight, despite its proclamation that this platform cared about the music, it looked like this had been yet another start-up by tech venture capitalists. Just as many acts dropped their own websites in favour of Facebook over a decade ago but were then trapped into sponsored posts to reach the majority of their own fanbase, online shops had been dropped for Bandcamp. So, things are back to square one as many consider a rebuild of their web presence.
Meanwhile, Live Nation CEO Michael Rapino made a controversial declaration that concert ticket prices were generally too low and that artists could easily “charge a bit more”. While THE CURE notably refused to do this and capped their face value tickets at $20 for their US tour, the Live Nation sister outlet Ticketmaster applied excessive booking extras of more than $20 per ticket for a “service fee”, “facility charge” and “order processing”! With dynamic pricing in place at a number of high profile events and so-called VIP tickets on the rise (which didn’t actually include a meet ‘n’ greet but only a nearby bar and a lanyard), fans had their “FOMO” anxieties triggered and simply paid up!
Photo by Chi Ming Lai
Another artist who kept ticket prices low was Midge Ure who embarked on the successful ‘Voices & Visions’ tour after a year’s delay due to uncertainties over the Covid situation in 2022. Complimented by a straightforward but very effective light show and material from his second and third long players with ULTRAVOX ‘Rage In Eden’ and ‘Quartet’, it was a triumph. He was rewarded with a 70th birthday show celebrating his career at The Royal Albert Hall, which despite its plush surroundings was also kept affordable.
Who says an artist has no control over retail pricing? But one band who were shamelessly happy to charge more for concert tickets, more for merchandise and more for physical releases were DEPECHE MODE. For their first album and tour since the passing of co-founder Andy Fletcher in 2022, the remaining members played the death card with ‘Memento Bori’ and managed to plonk an even more underwhelming arena show into the stadiums of the world… at least the ‘Global Spirit’ tour featured risers!
With renowned UK venues such as Printworks and Moles closing down, as had already been highlighted by Juls Garat of US goth band PILGRIMS OF YEARNING via social media in 2022: “If you’re spending a kidney on DEPECHE MODE tickets and not attending a local show this weekend, I don’t wanna see you complaining that there’s no scene, local venues or new music anymore”. However, one seemingly oblivious Devotee said about the inflated ticket prices: “Really don’t know what the issue is. Happily paid £108.00 for a DM ticket. Would have paid more!!”. And therein lays the problem… DEPECHE MODE played a date at Stadion Wankdorf in Bern and that said it all! As the man who Devotees call a genius once wrote: “Some great reward will be coming my way…”
Photo by Chi Ming Lai
As The Devotees wallowed in their collective misery during 2023, the Stockholm Syndrome was stronger than ever. On the Bratislava leg at the National Football Stadium, one of The Black Swarm commented to ELECTRICITYCLUB.CO.UK: “I was there… I must admit, a bit disappointed… but I still love them!!!”. It was business as usual for DEPECHE MODE, with “business” being the operative word. It was reported that so much money had been sucked out of the European alternative music market in particular that a number of acts had to schedule their planned tours to 2024, while others who had made good albums worthy of attention in 2023 got lost in the sea of DM propaganda on the web.
Despite increased ticket prices at all levels, gig etiquette declined to the worst possible standards with the constant chatter and bad manners among some attendees. Surely if you have paid upwards of £30 or more for a show, you might want to pay more attention and enjoy it? ELECTRICITYCLUB.CO.UK has never seen it this bad in the 43 years it has been going to concerts, but this entitled arrogance to talk extremely loudly about total bollocks is a undoubted legacy of Brexit and Covid which in combination has normalised a lack of social graces in gathered environments… and when challenged, these total numbskulls become aggressive, pitifully unaware that they are ruining the evening of those around them.
Meanwhile, there was another undesirable element who only go to gigs to post selfies and badly distorted footage on their socials… these were often the sort of people who actually hated the band back in the day, but after 40+ years realised they like the song on the Vitality or Waitrose advert so are sudddenly giving it the big “I AM” about being a fan… but BECAUSE they are only there for one song, they then treat the rest of the gig like they were out with their mates in the pub! 🤬
Photo by Chi Ming Lai
The best live shows of the year came from PET SHOP BOYS and DURAN DURAN with their arena extravaganzas full of hits, classic fan favourites and great staging. Among the album celebrations, CHINA CRISIS ran through their second long player ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ on tour to celebrate its 40th anniversary and founder bassist Peter Hook took the first NEW ORDER compilation ‘Substance’ out on the road to coincide with its expanded 4CD reissue.
“Sweden’s best kept pop secret”KITE impressed with an imitate headliner for their debut London gig and later at Cologne’s Amphi Festival to a much larger crowd, while the return of Ollie Wride to the London stage at The Scala illustrated why he has potential to be the next synthwave artist to crossover into the mainstream.
Photo by Ed Miles
‘Time’s Arrow’, LADYTRON’s second album since their return from hiatus proved to be something of a disappointment while fairing slightly better with its anti-Brexit sentiments, ‘Bauhaus Staircase’ was touted as the final album from OMD; now kissing the strict machine, having previously been supportive of new electronic pop via ELECTRICITYCLUB.CO.UK championed acts MIRRORS, VILLA NAH, VILE ELECTRODES, METROLAND, TINY MAGNETIC PETS and SOFTWAVE, their choice of art glam hipsters WALT DISCO as opening act on the UK leg of the 2024 tour was symbolic of the general poor state of modern synthpop ie pop music using synths, particularly within the narrow-mindset of Brexit Britain.
Although the UK was continuing to party like it was 1933, the incendiary language that Cruella Braverman was using was so extreme that she was even dismissed from fronting the Conservative Party new wave covers band A FLOCK OF SIEG HEILS… as a trio of poets from South Yorkshire once said: “BROTHERS! SISTERS! WE DON’T NEED THIS FASCIST GROOVE THANG!” ✊
Reflecting a wider issue, 2023 also saw ELECTRICITYCLUB.CO.UK publish its fewest number of ‘Introducing…’new artist articles since its inception in 2010 with only Brigitte Bardini and Madeleine Goldstein featured. There were a number of possible reasons…
Photo by Bella Salvatore
“The technology leads the art form and it always has” said veteran producer Steve Lillywhite on a recent Rockonteurs podcast, “if the technology allows you to reference other people’s records… you WILL do that!”. This was summed up by an Apple Mac advert featuring sample-based British pop singer PinkPantheress demonstrating how to have a hit by appropriating a topline from Kelly Rowland and plonking it into GarageBand before processing her voice through AutoTune and nabbing the intro of ‘Gold’ by SPANDAU BALLET… you said it yourself Miss Walker, IT SOUNDS LIKE GARBAGE!
While the accessibility, usability and sound quality of modern tech has totally democratised music making, as another veteran producer Stephen Hague put it to ELECTRICITYCLUB.CO.UK “it’s made it far too easy”, with the end result being familiarity and imitation rather than innovation. Now that an acceptable sound is able to be obtained fairly quickly on software such as GarageBand, the level of songwriting has generally declined in many genres. Artists abstain from putting in the hard work towards the actual songcraft because they think their track is already great, as it sounds like someone they’ve based it on!
However, the misuse of “synth” as a description reached a new nadir in 2023. There were those using “synth” or “synthwave” in their brand identity who proudly revealed via their Spotify Wrapped that their Top Genre was actually rock or made bizarre comments like “What I like most about synthwave is the guitar solos”. Meanwhile one artist declared they were synthpop because they had spent their youth “listening to too much Madonna”! But synth music as an enduring form is ultimately doomed when social media platforms using “Synthpop” in their idents think that guitar-based bands like BIG COUNTRY and COCTEAU TWINS are part of it, or compile acoustic playlists!! 🤦♂️
“Synth” has now somehow become is a general term for any retro-flavoured pop with an element of shiny artifice whether synthesizers have been used or not! These artists and “content creators” are now too young to understand what “synth” in music actually once meant and probably think the term is short for “synthetic” as in clothes and hair products, as opposed to “synthesizer”.
That said, 2023 was not all bad and there was a lot of excellent music. The song of the year was by the unlikely synth hero in glum rocker Lloyd Cole; while guitars made a more prominent but limited return on his album ‘On Pain’ following 2019’s electronically-dominated ‘Guesswork’, the standout song ‘The Idiot’ saw him provide a touching narrative on the relationship between David Bowie and Iggy Pop as they relocated to Berlin in 1976.
Swedish veterans PAGE took the Numanisation of their poptronica to its zenith by bringing in former imperial phase Numan band members Chris Payne and RRussell Bell on their new album ‘En Ny Våg’. Across the Öresund Bridge, Danish synthpop couple SOFTWAVE showed the world the ‘things we’ve done’.
Photo by George Tripodakis
Another music veteran Ricky Wilde teamed up with NINA to reveal their ‘Scala Hearts’; full of classic pop references and a modern sheen, this was the record Wilde had wanted to make for a few years but hadn’t been able to with his sister Kim. Its creative drive showed and this was also the best long player that NINA had been part of since she launched her solo career in 2011. In a busy year, NINA also found time to satisfy many a red blooded fantasy by collaborating with Kid Moxie on the ‘Lust’ EP released by Italians Do It Better.
The Finns were strong too, with Jaakko Eino Kalavi and Jori Hulkkonen producing two of the best albums of 2023. The former’s eclectic ‘Chaos Magic’ featured Alma Jodorowsky, Mr Silla and Jimi Tenor as special guests while the latter’s ‘There Is Light Hidden In These Shadows’ brought in John Grant, Ralf Dörper, Jake Shears, Jon Marsh, Juho Paalosmaa and Tiga.
While maintaining his front man role in MESH, Mark Hockings presented his solo project BLACKCARBURNING in long playing form and was ‘Watching Sleepers’. Also going it alone, Alison Goldfrapp squarely hit the dancefloor via ’The Love Invention’ with Kylie Minogue’s similarly glitzy ‘Tension’ as its companion. But with ACTORS still busy touring the world, the planned long playing debut from LEATHERS was yet to emerge but there were two new singles in the interim.
METROLAND and side project 808 DOT POP ambitiously released albums in five different formats with exclusive tracks on each between them simultaneously, in a move that had not been seen since 1978 when all four members of KISS released solo records on the same day. Much more discretely, ITALOCONNECTION came up with ‘Nordisko’ which comprised of Nordic pop disco covers. More ambient experiments were served by John Foxx, Vince Clarke, Patricia Wolf, Johan Agebjörn and the late Ryuichi Sakamoto, while putting those ethereal textures into song was Hinako Omori with her appropriately named second album ‘stillness, softness…’
Germany’s BEBORN BETON offered bleak commentary on the state of the planet with ‘Darkness Falls Again’ but encouraged everyone to be dancers in the dark while Chinese band STOLEN highlighted this ‘Eroded Creation’. Within their ‘Circle Of Doom’, NNHMN had pressing matters closer to home while ZANIAS emerged from her ‘Chrysalis’. FERAL FIVE confronted and worked with AI to declare ‘Truth Is The New Gold’ and Finlay Shakespeare tapped into his ‘Illusion + Memory’.
Photo by Tim Darin
Among the promising emergent acts with debut EPs were NEU-ROMANCER and DIE SEXUAL while German solo artists Jennifer Touch and Laura Dre added to their long playing portfolios, as did OHNOTHING and BUNNY X. Fronted by respectively by John Grant and Neil Arthur, CREEP SHOW and THE REMAINDER outlined the benefits of collaboration while CAUSEWAY joined forces with R. MISSING for the single ‘Wear The Night Out’.
Despite having plied their trade for over 50 years, SPARKS continued to be as eccentric as ever and even had Cate Blanchett appear in the video for ‘The Girl Is Crying In Her Latte’. With ‘*Happiness now completed’ and Dave Ball returning to the live fold after a period of serious illness, SOFT CELL effectively issued another new album featuring a significant number of previously unreleased tracks including covers of Giorgio Moroder and X-RAY SPEX to provide a much more satisfying listening experience than the parent ‘*Happiness not included’ record. Then there was the unexpected recorded return of CLASSIX NOUVEAUX with their ‘Battle Cry’.
Veteran acts who ceased active operations many years ago got worthy boxed set treatments; TELEX provided ELECTRICITYCLUB.CO.UK with the funniest interview of the year in support of their self-titled retrospective on Mute while LANDSCAPE were comprehensively catalogued by Cooking Vinyl. Not to be left out, the trusty Cherry Red via their Lemon imprint showcased how underrated NEW MUSIK and their leader Tony Mansfield were, especially with the latter’s sound clearly audible in today’s pop acts such as THE WEEKND.
Despite the return of Q, the jury was still out on whether music magazines are still desirable aside from their CD and vinyl artefacts. Meanwhile, music-based social media dumbed down its engagement to cut ‘n’ paste Wikipedia snippets accompanying archive photos or artwork, pointless 26th anniversary posts and non-significant birthday celebrations to attract likes. Comments from the public such as “My favourite album… I wish I still had it!” and saying “Happy Birthday” when the platform wasn’t even connected to the artist concerned only highlighted further the continuing inane nature of online interaction. And this was without those irritating “POV” reels and reaction videos on TikTok and Instagram which were unfortunately prevalent!
The less said about the right wing gammon infested sh*t show that Twitter has become, the better but on the new Threads platform intended to take it on, PENDULUM’s El Hornet remarked “omg threads is full of music industry self help w*nkers making lists about things nobody asked abort! ABORT!” 🤣
With such platforms also seemingly centred around the exposure of flesh with photos “just for fun” be the subject a golfer, gamer, painter, baker, comedian, hairdresser, photographer, psychologist, racing driver, book reviewer, poet, dating coach or Lego enthusiast, is it any wonder that several music artists resorted to setting up OnlyFans accounts to sell nude photos!
With pun totally intended, in this challenging climate for exposure, some acts simply got a bit too big for their boots and were unbearably conceited on their socials with their bragging and frivolous chatter to appease a needy flock who hung onto their every word, desperate to be seen to be “friends” of wannabe stars while crowdfunding towards their spa weekenders and vet bills for their cat… it was therefore ironic that one of these acts declared “Music isn’t a competition!” when it appeared that another band might be taking away some of their limelight! Well, stop acting like it’s a 24 hour edition of ‘The Apprentice’ then!!! 🙄
On the other side of the coin, one too cool for school band took a strange attitude to promotion by refusing to accept questions about their influences while trying to come over like total originals. Despite their inspirations being blatant and obvious to hear, they had a misguided self-belief that they were somehow speaking a new language! But everybody knows they started out by purchasing the sheet music to ‘Bizarre Love Triangle’ from a New York thrift store! 😆
A few years ago, a lone British artist was complained about the lack of press attention for their new admittedly good album, but then proceeded not to answer emails containing interview pitches. Artists need to engage, no matter how much they say they hate doing promotion, they can’t have it both ways. The days of RADIOHEAD not doing interviews to promote a new album and letting the music speak for itself are long gone…
With the world now making up for lost time since 2020, it would be fair to say that 2023 has been something of a strange year!
It was the late Seymour Stein who said “the reason ERASURE are so great is because they make people feel good about themselves”.
Together as ERASURE, Andy Bell and Vince Clarke have been one of the most consistent British pop acts ever. Originally released in 2015 to celebrate the duo’s 30th anniversary, Mute / BMG have reissued ‘Always – The Very Best of ERASURE’ as a revised and updated double vinyl LP set for the first time.
It would be fair to say that Mute Records’ initial commercial success came on the back of Vince Clarke’s songcraft. First with DEPECHE MODE and then YAZOO with Alison Moyet, Clarke demonstrated his marvellous pop sensibilities amongst all the cult acclaim that was accorded to acts like THE NORMAL, DAF and FAD GADGET.
However, Clarke suffered from recurring disillusionment and having left DEPECHE MODE and disbanded YAZOO, his new project THE ASSEMBLY with producer Eric Radcliffe had hit a brick wall despite a 1984 hit ‘Never Never’ featuring THE UNDERTONES’ Fergal Sharkey. It had been intended to use a different vocalist on each track with BLANCMANGE’s Neil Arthur and BOURGIE BOURGIE’s Paul Quinn among those mooted to take part.
Photo by The Douglas Brothers
“I want to get back to KRAFTWERK, you know” he said to International Musician & Recording World at the time, “Synths that sound like synths, not like brass, or voices or whatever. I know it’s not hip, but I don’t care”. Having decided on a fresh start, Clarke placed an advert in Melody Maker simply stating “Versatile voice wanted for established songwriter”.
A 21 year old ex-butcher Andy Bell was one of the many applicants and was audition #36. In front of a judging panel that also included Mute supremo Daniel Miller and producer Flood, the latter noted that Bell was the only candidate who hit falsetto during one of the audition pieces ‘Who Needs Love (Like That)?’. Impressing with not only with his Moyet-esque vocal technique but his range as well, in neo-X Factor style, Andy Bell was declared the winner and ERASURE were born.
Although Vince Clarke was considered to have a Midas touch following his success with DEPECHE MODE, YAZOO and THE ASSEMBLY, ERASURE’s debut album ‘Wonderland’ in 1986 was not an instant hit. Released as the lead single the year before, ‘Who Needs Love (Like That)?’ was mistaken by some to be a previously unreleased YAZOO recording.
However, it was very immediate and although Clarke had penned ‘Who Needs Love (Like That)?’ solo, there was a special spark developing both musically and personally between the pair. Soon a collaborative aspect to composition emerged that had not been present in DEPECHE MODE and rarely occurred in YAZOO. Songs were generally written as a duo on guitar or piano before any consideration of electronic embellishment was made.
Among the album’s highlights were the joyous ‘Reunion’ and the funky ‘Push Me… Shove Me’ which also displayed some Italo disco tension. The ‘Wonderland’ HI-NRG centrepiece ‘Oh L’Amour’ also flopped as a single but undeterred, ERASURE toured the college circuit to build up a new fanbase from scratch outside of DEPECHE MODE and YAZOO. Vindicated in 1987, ‘Oh L’Amour’ became a belated hit single for DOLLAR.
The 12” release of ‘Oh L’Amour’ was to become a sign of ERASURE’s future as it contained a thrilling Boystown cover of ‘Gimme! Gimme! Gimme!’. At the time, ABBA were considered passé; but a few years before while on holiday in Tenerife with BLANCMANGE’s Neil Arthur and Stephen Luscombe, the threesome had a tape of the Swedes’ most recent greatest hits collection ‘The Singles: The First Ten Years’ on constant rotation. It was here that the idea of BLANCMANGE doing ‘The Day Before You Came’ was formulated; Clarke was also taking notes…
Following his disillusionment of playing live with YAZOO where the two Fairlights he had hired had proved so troublesome that reserve backing tapes were used as the tour progressed, technology had become more reliable and compact so that meant going on the road in a van was now much more straightforward. ERASURE’s 1986 live set-up featured an Oberheim Xpander, a three module Yamaha TX816 rack, a Sequential Pro-One and two Casios, all driven by a BBC computer using the UMI-2B MIDI sequencer with Yamaha RX11 and Roland TR727 drum machines handling the rhythms.
Clarke and Bell were still getting to know each other so could be forgiven for their tentative start but the potential in the chemistry between the two hit paydirt with ‘Sometimes’, the first new single after ‘Wonderland’. Just missing out on the No1 spot in Autumn 1986, it was released ahead of the second album ‘The Circus’ and showcased what was to become a signature ERASURE sound with bubbly infectious electronics augmented by rhythmic acoustic strums.
Again produced by Flood but given the final once over by PWL Mixmaster Phil Harding, ‘Sometimes’ marked the beginning of an imperial phase as further hits followed, continuing with the vibrant ‘Victim Of Love’. But ERASURE also took two songs into the charts with poignant political sentiments against the Thatcher era; ‘It Doesn’t Have To Be’ protested against the UK government’s apathy towards the Apartheid regime of the racist South African government while ‘The Circus’ highlighted the plight of those made unemployed in the wake of key UK industries being closed down or sold off.
Meanwhile songs on ‘The Circus’ such as ‘Spiralling’ and ‘Hideaway’ confirmed ERASURE were more than just a great singles act; Hideaway’ was ERASURE’s very own ‘Smalltown Boy’ while the elegiac ‘Spiralling’ was a masterpiece, showcasing Bell’s fine voice in sparse surroundings.
1988’s ‘The Innocents’ produced by Stephen Hague was symbolic in that it was the first time that Vince Clarke had reached the third album milestone with a project… he had finally settled down! As with ‘The Circus’, further political observations came with the excellent ‘Ship Of Fools’ which surprised as the lead single with its maturer pace. But ‘Chains Of Love’ provided more of what was expected, as did the brass punctuated ‘Heart Of Stone’ while ‘Phantom Bride’ took a more serious turn in a commentary on forced marriage.
But the album’s opening song ‘A Little Respect’ was perfection from the off with its combination of Vince Clarke’s pulsing programming and strummed acoustic guitar As the busy rhythmical engine kicked in, Andy Bell went from a tenor to a piercing falsetto to provide the dynamic highs and lows that are always present in all great pop songs. It was deservingly nominated in the ‘Best Contemporary Song’ category at the 1989 Ivor Novello Awards.
To consolidate their best year to date, ERASURE ended 1988 with the seasonally themed ‘Crackers International’ EP. The lead track was ‘Stop!’, a throbbing Giorgio Moroder-inspired disco tune that borrowed counter-melodies from Donna Summer’s ‘Love’s Unkind’. Also featuring ‘Knocking On Your Door’ and ‘The Hardest Part’, the EP helped ERASURE’ maintain their profile while they were preparing their next plan of action. And as it was dropping out of the charts at the start of the new year, ERASURE won the ‘Best British Group’ accolade at the 1989 BRIT Awards,
With Gareth Jones and Mark Saunders at the production helm, 1989 saw ERASURE release their most ambitious album yet in ‘Wild!’ with a tour and accompanying stage set to match. ‘Blue Savannah’ imagined Roy Orbison doing electropop with a rousing sense of optimism to become one of ERASURE’s most universally loved songs, while the surprising Latin romp of ‘La Gloria’ saw Bell realise his Carmen Miranda fantasies. ‘Piano Song’ and ‘How Many Times?’ were the minimally structured ballads while ‘Star’ and ‘Drama!’ provided the hits with the latter displaying a previously unheard turn of aggression.
Amidst the success of the ‘Wild!’ campaign which culminated in a huge open air party at the Milton Keynes Bowl, Clarke was however less sonically satisfied. It had become apparent to him that there were technical limitations in the now dominant MIDI standard when sequencing, known as “MIDI slop”. In order to achieve the tighter feel of his earlier work with YAZOO on the ‘Upstairs At Eric’s’ album in particular where the various synthesizers were controlled using the Roland MC4 Micro-composer and ARP 1601 sequencer, the next ERASURE album ‘Chorus’ eschewed MIDI completely. The restriction of using only analogue synthesizers and no drum machines was applied to its production, save the occasional sampled cymbal crash. The sequenced monophonic nature of the equipment meant there would be no traditional chords either.
With this return to analogues, KRAFTWERK was crossed with Gloria Gaynor on ‘Love To Hate You’ and the energetic vintage thrust of ‘Breath Of Life’ recalled DEPECHE MODE’s ‘Speak & Spell’ album. The superb emotive ballad ‘Am I Right?’ was a surprise hit single while amongst the album highlights were ‘Waiting For The Day’ and ‘Perfect Stranger’.
Announced a year in advance at the time of the ‘Chorus’ album’s release was a theatrical spectacular entitled the ‘Phantasmagorical World Tour’ which took up residencies in London, Edinburgh and Manchester, the latter leg of which was immortalised in ‘The Tank, the Swan and the Balloon’ concert film.
Clarke wanted to take his vintage tech philosophy onto the stage and a special hydraulically controlled caterpillar tracked tank was constructed to house his various pieces of equipment. The engine room was an MC4 acting as the main sequencer controlling via CV / Gate, a Minimoog for bass sounds, a Roland Juno 60, a Prophet 5 alternating with a Roland Jupiter 8 dependent on the song programme and the Oberheim Expander with an Akai MPC-60 and Akai Linn synced up to provide the drum sounds pre-sampled from assorted synths. The data for the MC4 was precariously pre-loaded using a high end Maxell cassette to break the sound barrier.
With the choreographed presentation featuring a flamboyant sexy dance troupe and Andy Bell’s infamous sequinned cowboy outfit with no backside, it also included a bingo interval and Clarke dancing as part of a routine during a meaty sounding ‘Voulez-Vous’! And it was with a 4 song EP of ABBA covers entitled ‘ABBA-Esque’ that ERASURE scored their only No1 single in Summer 1992.
One key legacy of ERASURE during this time was that they planted the seeds of an ABBA revival. Not only was there a new compilation ‘Gold’ released after the profile of the Super-Swedes was boosted by ‘ABBA-Esque’ but around the same time, the Australian tribute act BJÖRN AGAIN released ‘ERASURE-ish’ which had Agnetha, Björn, Benny & Anni-Frid styled versions of ‘A Little Respect’ and ‘Stop!’ in time for the party season.
ERASURE’s cover version success also led to PET SHOP BOYS postponing the release of ‘Go West’ which had been due to be available for Christmas 1992; Neil Tenant and Chris Lowe made the decision after it was pointed out doing a VILLAGE PEOPLE cover would look like the duo were aping their rivals’ ‘ABBA-esque’! ERASURE ended 1992 with their first singles compilation ‘Pop! The First 20 Hits’ featuring all of the band’s singles to date. It reached No1 and has since given PET SHOP BOYS ‘Discography’ a run for its money as one of the best greatest hits collections ever.
To take the pre-MIDI analogue path planted during ‘Chorus’ to the next level, Martyn Ware who had used such synthesizers as a member of THE HUMAN LEAGUE and also used the Roland MC4 Micro-composer on HEAVEN 17’s ‘The Luxury Gap’ was recruited as producer for ERASURE’s next album ‘I Say I Say I Say’. Featuring the hits ‘Always’ and ‘I Love Saturday’, Ware laid out a methodology that was fundamentally “old school” to allow Clarke to bounce ideas off him in the studio.
Another technique was to allow Bell to lay down all his vocals first, so that the music could be worked around him to allow more air in the finished recordings. Ware got on well with Clarke and they were to found Illustrious to explore the possibilities of immersive 3D sound design. “I remember with Vince when we were taking about this process and he agreed” remembered Ware, “He said ‘You know what Martyn, I am my own biggest fan, I just think everything I do is brilliant’… it was so disarmingly honest and it wasn’t anything to do with arrogance at all, he just knew he was the master of his craft because he had all the tools at his disposal to do exactly what he wanted…”
The closing ‘I Say I Say I Say’ track ‘Because You’re So Sweet’ was a pretty ballad representative of the mature approach on the album taken by Andy Bell and Vince Clarke although the frantic energy of earlier ERASURE was not forgotten on ‘Run To The Sun’. But at Ware’s suggestion, a choir was brought in for the glorious ‘Miracle’ to provide an eerie contrast to the electronic proceedings. Meanwhile ‘Man On The Moon’ and ‘Blues Away’ outlined how Bell and Clarke were in the classic songsmith mould, regardless of the synthesized backing behind them. Cited by many as ERASURE’s best album, I Say I Say I Say’ was yet another No1.
But ERASURE’s run of five UK album chart toppers ended with their self-titled seventh album in 1995. ‘Erasure’ was Vince Clarke’s attempt at prog synth or as Andy Bell referred to it, the duo’s own ‘Dark Side Of The Moon’ or ‘Bright Side Of The Sun’; produced by Thomas Fehlmann who was best known for his work in THE ORB, it was an ambitious if flawed opus with extended intros and the sub-10 minute numbers like ‘Rock Me Gently’.
But there were also emotive neo-classical moments such as ‘Grace’ which recalled the atmospheric drama of prime OMD. The brilliant ‘Fingers and Thumbs (Cold Summer’s Day)’ though was its most accessible offering and remains possibly their most under rated single. The experimentation of the period also led to B-sides such as the delightful KRAFTWERK homage ‘Chertsey Endlos’.
Produced by Gareth Jones and Neil McLellan, 1997’s ‘Cowboy’ brought back the 3 minute pop tunes, with the superb ‘Reach Out’ and ‘Rain’ among the highlights along with the two contrasting singles ‘In My Arms’ and ‘Don’t Say Your Love Is Killing Me’. Clarke declared the album his favourite although Bell felt it lack passion and was too linear. However, ERASURE played the biggest arena tour for quite some time with a promising new live act HEAVEN 17 opening for them…
However, ERASURE then entered a quiet period but it wasn’t until later that it was learnt that there had been more serious concerns to deal with. But when the ‘Loveboat’ album emerged in 2000, it was considered a disappointment all round with discontent in the ranks. Despite production by Flood, Andy Bell admitted how shocked he was when he heard the “weird and indie” final mix by Rob Kirwan that emphasised the more guitar driven dynamics.
The ‘Loveboat’ album lacked the usual ERASURE charm and even its one potentially great song ‘The Moon & The Sky’ was missing an uplifting chorus, something which was only fixed with the Heaven Scent Radio Rework version by Jason Creasey that was later released on an EP. Fans were confused but in the face of poor sales, Clarke quipped on Channel 4’s Electro Pop Pioneers Top 10 show in 2001 that the ‘Loveboat’ album had “a couple of holes in it” while Bell added with a smile, “we’ll just do another one!”.
Fortunes only slightly improved with their mid-career crisis covers record ‘Other People’s Songs’. In a creative rut, what began as an Andy Bell solo covers exercise became an ERASURE one with Vince Clarke proposing Peter Gabriel’s ‘Solsbury Hill’ and THE BUGGLES ‘Video Killed The Radio Star’. Bell’s choices were more from the classic songbook including True Love Ways’, ‘Ebb Tide’, ‘You’ve Lost That Lovin’ Feelin’’ and ‘Walking In The Rain’ while a take on Steve Harley’s “Make Me Smile (Come Up and See Me)’ with a Stylophone solo provided another Top 20 hit.
2003 saw a new ‘best of’ compilation called ‘Hits! The Very Best of ERASURE’ but a year later, Andy Bell was in a confessional headspace with his health. Making his 1998 HIV diagnosis and a hip replacement public, this was to affect the mood of the next ERASURE album ‘Nightbird’ although this was to be their best body of work since I Say I Say I Say’. Released in 2005, ‘Nightbird’ was something of a departure as it comprised entirely software synths, enforced partly by Clark’s move to the US, leaving him unable to work with his analogue armoury for a period.
Introspective in its demeanour, ‘Nightbird’ was more layered than anything they had undertaken before. Although ‘No Doubt’ was about riding the storm through tough times, ‘Let’s Take One More Rocket Ship To The Moon’ offered a hopeful “live for today” message. ‘Breathe’, ‘Here I Go Impossible Again’, ‘Don’t Say You Love Me’ and ‘I Broke It All In Two’ were among the many highlights in a brilliantly cohesive work. It was proof if that if you’ve got it but have lost it, the redeeming consequence is you can get it again back if you keep trying…
Issued in 2006, the interim ‘Union Street’ was a collection of previously released album tracks re-interpreted in an acoustic and countrified style. But in the opposite direction, the next ERASURE long player was the more dance-oriented ‘Light at the End of the World’. Produced by a returning Gareth Jones, while the entire album was played on its accompanying 2007 tour, it proved to be lukewarm, sparking more mixed fortunes for Clarke and Bell both creatively and commercially.
However, one of the more memorable tracks that emerged from these sessions was track on ‘The ‘Storm Chaser’ EP entitled ‘Early Bird’. An enjoyable duet between Cyndi Lauper and Andy Bell, it was a soulful slice of Trans-Atlantic synthpop that coincided with Ms Lauper heading towards a career renaissance with her enjoyable ‘Bring Ya To The Brink’ album in 2008.
As the duo took an extended break, Clarke reunited with Alison Moyet for the YAZOO ‘Reconnected’ tour while Bell worked on a second solo album which following aborted sessions with Stephen Hague, eventually saw the light of day in 2010 produced by Pascal Gabriel under the title of ‘Non-Stop’.
ERASURE headlined the closing night of the Short Circuit Presents Mute event in Spring 2011 with guest appearances from Alison Moyet and Fergal Sharkey as another new album ‘Tomorrow’s World’ was pencilled in for the Autumn. However, things were not promising as the severely over rated Frankmuzik was recruited to apply his modern dance production aesthetic.
The 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. The joyous ‘Be With You’ was a good second single choice from the album but still came over as dispassionately mechanised. But much more enjoyable and classic was the Vince Clarke produced ‘Be With You’ B-side ‘Never Let You Down’ which was free of the auto-tune treatments that Frankmusik had applied when helming ‘Tomorrow’s World’.
2013 gave ERASURE the opportunity to finally make ‘Snow Globe’, the Christmas record they had wanted to do since including ‘God Rest Ye Merry Gentlemen’ for the CD edition of the ‘Crackers International’ EP. As well as traditional seasonal tunes and new songs such as the joyous ‘Make It Wonderful’, the centre-piece was the haunting Ecclesiastical Latin carol ‘Gaudete’. Taken from its 16th Century origins and thrown into the new millennium with a precise electronic backbeat, there was even a cheeky ‘Ice Machine’ reference thrown in for good measure.
Following the disappointment of ‘Tomorrow’s World’, 2014’s ‘The Violet Flame’ produced by Richard X saw ERASURE return to form and express an infectious zest for the future. Following his VCMG techno project with former DM band mate Martin Gore, the songs began with Clarke’s pre-recorded dance grooves. Bell vibed instantaneously with these faster pace backbones and the end result was a much more immediate and uptempo album.
‘Dead Of Night’ was the collection’s euphoric, uplifting opening number while despite the cutting rave stabs and thundering rhythms, ‘Sacred’ did bear a rather striking resemblance to GUNS ‘N’ ROSES’ ‘Sweet Child O’ Mine’! But the best number from the sessions was ‘Be The One’ in its remixed treatment by Paul Humphreys who added some of the beautiful Synthwerk magic that characterised OMD’s brilliant ‘English Electric’. With ‘The Violet Flame’, ERASURE returned to the Top 20 album charts for the first time since 2003.
But following their 30th anniversary, ERASURE returned in a more pensive mood for the self-produced ‘World Be Gone’ album. The percussive lead single ‘Love You To The Sky’ sounded uninspired and while ‘A Bitter Parting’ ably communicated its anguish, it sounded laboured in its execution. It was a departure but it was not particularly easy listening for ERASURE fans.
Photo by Chi Ming Lai
The first trio of UK shows that came not long after ‘World Be Gone’ was released were oddly paced too. Possibly due to a run of high profile dates opening for Robbie Williams coming straight after, the first hour of the set more or less comprised of hit after hit like a dress rehearsal for those support slots before a run of three songs from the new album found themselves slotted in at the end. This undoubtedly inhibited the expected concert climax before the welcome encore of ‘Victim Of Love’ and ‘A Little Respect’.
ERASURE’s eighteenth studio long player ‘The Neon’ came in the middle of the 2020 lockdown. Described by Bell as “going back to the beginning” with Clarke in love with analogue synthesizers again, songs such as ‘Hey Now (Think I Got A Feeling)’, ‘Diamond Lies’, ‘Nerves Of Steel’ and ‘Fallen Angel’ captured a vibrant immediacy that offered some much needed escapism.
Unable to promote the album in a conventional manner, Bell and Clarke instead held endearing ‘Staying In With ERASURE’ online broadcasts where Clarke and Andy Bell talked about some of their favourite records and answered questions from fans while at the end of the year, they held a Virtual Christmas Party. It was this personable effort to connect compared with some of their contemporaries that highlighted why ERASURE have been so adored by their dedicated following around the world.
With ‘The Neon’ reaching No4 in the UK album charts, their highest placing since ‘I Say I Say I Say’ in 1994, their 2021 tour came just as the world started allowing live events again post-pandemic; it saw ERASURE headline London’s O2 Arena for the very first time. But just as further 2022 arena shows were announced in the UK with BLANCMANGE as the support act along with dates in Europe, North America and South America, the next leg of the tour was cancelled due to unexpected family circumstances.
Aside from ‘Day-Glo (Based on a True Story)’, an experimental record based on reconstructions using parts of ‘The Neon’, ERASURE have been quiet of late but Andy Bell recently emerged to perform solo at various festival events the UK and Ireland. He has also returned to the ABBA cover fold with Claire Richards of STEPS for a stomping version of ‘Summer Night City’.
ERASURE’s enduring legacy is great emotive pop songs but with an openly gay front man, Andy Bell has been a trailblazer for equality and acceptance with Vince Clarke as his loyal ally. Continuing the good work laid down by SOFT CELL, ERASURE have along with PET SHOP BOYS furthered the cause of the synth duo as the most practical format to make quality pop for outsiders that has also managed at times to crossover into the mainstream.
Photo by Richard Price
ERASURE is a long standing pop marriage that only PET SHOP BOYS can equal. Compared with PET SHOP BOYS, while Neil Tennant and Chris Lowe may have scored more UK No1 singles, Andy Bell and Vince Clarke come out on top with more UK album No1s over the same period.
One of the other reasons ERASURE have been able to achieve longevity is that Bell and Clarke have given each other space and allowed the flexibility to undertake side projects. The first Andy Bell solo album came out after ‘Nightbird’ in 2005 and saw collaborations with Claudia Brücken and Jake Shears. Since 2014, he has been involved in the ‘Torsten’ trilogy with a series of theatre shows written by Barney Ashton and Christopher Frost.
Meanwhile, Clarke produced a wealth of instrumental material with Martyn Ware which was collected as the 8CD boxed set ‘House Of Illustrious’ as well as doing remix commissions, running his own label VeryRecords and presenting The Synthesizer Show with Reed Hays of REED & CAROLINE on Maker Park Radio in New York..
In the expanded ‘Total Pop! The First 40 Hits’ deluxe boxed set booklet issued in 2009, Andy Bell said “Some people like the records and some can’t stand them I guess”. But as Vince Clarke dryly said back then: “We’re just going to keep making records. We’ll never split, sorry folks!”
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