Tag: Vince Clarke (Page 4 of 10)

JOHAN BAECKSTRÖM Utopia

13 June 2018 /

In 2015, ace Swedish synthesist Johan Baeckström made a call to arms, declaring that the ‘Synth Is Not Dead’. And now in 2018, he presents his ‘Utopia’.

Baeckström first came to prominence with DAILY PLANET, the synthpop duo he formed with Jarmo Ollila who released their debut album ‘The Tide’ in 1996. After a hiatus of 18 years, they returned with the album ‘Two’ while Baeckström began a parallel solo career a year later. Titled ‘Like Before’, his album captured the synthpop prowess of Vince Clarke at his finest, while adding that melancholic but uplifting Scandinavian vibe, particularly within the environmental message of the title track and brilliant songs such as ‘Running Away With Me’, ‘Come With Me’ and ‘Tonight’.

While Baeckström’s vocal capability recalled Andy Bell, the appeal of ‘Like Before’ wasn’t so much because it sounded like classic ERASURE, but down to the brilliance of his songwriting and the engaging qualities of the long player’s synthtastic production. But from the off starting with the ‘Utopia’ title song, the first impression that comes across on this sophomore offering is things are a slight bit darker and grittier. Despite that, there’s a rousing chorus and percolating sequences to savour as Baeckström points out the futility of seeking that perfect future.

Brighter pacier electronic tones make their presence felt on ‘Homeless’, although the metaphoric possibilities of the title reflect on the gloomier uncertainties that currently embroil the world. A near namesake of the DEPECHE MODE hit, ‘The World Through Your Eyes’ utilises a synthetic noise backbone in a steadfast tempo that has weightier thoughts and deeper resonances emanating from its core.

Continuing those deeper resonances, ‘Better Stories’ uses minimalistic expression at its heart, allowing Baeckström’s soulful vocal to shine before a multi-layered build as per the Altered take on DEPECHE MODE’s ‘Any Second Now’. But the mood takes yet another turn when ‘I Can Read Your Mind’ delightfully goes into full YAZOO mode with its melodic circuitry and precise digital drums.

Imagining a dream collaboration between Vangelis and Vince Clarke, ‘Cassini’ is a wonderful instrumental that is swathed in filmic intrigue. And without a vocal present, it showcases that like Clarke, Baeckström has a place for every single musical part where individual lines and counter melodies give the impression of chords and sweeps for a spacious end result.

Adopting a more frantic pace, Baeckström rallies everyone to ‘Ask Them Why’, while ‘Blood Red Moon’ is understandably sombre as he bids his goodbyes to a loved one, despite some sonic sweetening. An orchestrated sequence of synths, influenced at points by Wendy Carlos, takes proceedings ‘Into The 80’s’ with Baeckström’s post-modern take on Canadian rocker Nick Gilder’s 1979 thoughts on that future decade.

The bouncy ERASURE-ish superpop of ‘Silence’ pleas for restraint despite the party atmosphere, highlighting the contrast of light and shade that lingers simultaneously throughout this ‘Utopia’. Closing with ‘Blinded’, the soaring swaying ballad lets a young choir girl named Lina innocently offset the drama of its electronic interplay.

In hard times, people get nostalgic and through its composition of sound, ‘Utopia’ does as the ninth track suggests and makes references to the past. However, whereas ‘Like Before’ was very much about escape embroiled in optimism, ‘Utopia’ is much more of a reality check, darker and perhaps less immediate, but still pristinely crafted and textured. For all that, the spirit of ‘Utopia’ is hardly ‘Black Celebration’, although it adopts its attitude of being realistic rather than pessimistic.

Johan Baeckström uses his many analogue machines to turn his well-written songs into appealing and emotive synthpop, proving indeed that the synth is not dead. This is a fine and accomplished second album by the man from Karlskoga that gets better with each listen.

Instruments used on ‘Utopia’: Akai AX-73, ARP Odyssey, Arturia Minibrute, Crumar Bit One, Dave Smith Instruments Prophet 08, DB Noise Can, Korg Mono/Poly, Korg MS-20, Korg Volca Bass, Moog Little Phatty, Minimoog, Roland Jupiter 6, Roland Juno-106, Roland SH-09, Sequential Circuits Pro-One, Waldorf Streichfett, Yamaha DX7 and Yamaha CS-10

‘Utopia’ is released by Progress Productions in CD and digital formats, available direct from https://johanbaeckstrom.bandcamp.com/album/utopia-2

https://www.facebook.com/bstrommusic/

https://twitter.com/bstrommusic

https://www.instagram.com/johanbaeckstrom/

http://www.progress-productions.com/product/johan-baeckstrom-utopia/

https://open.spotify.com/album/43qhyXv3PcMvVaVK1jsqSv

Text by Chi Ming Lai
Photos by Helene Shippey
13th June 2018

A Short Conversation with LADYTRON

20 March 2018 /

Named after a wonderfully eclectic song from the first ROXY MUSIC album, appropriately it was Brian Eno who said that LADYTRON were “the best of English pop music”.

Despite Eno’s description, one of the most distinctive aspects of LADYTRON is their diversity, with Bulgarian-born Mira Aroyo and Glaswegian Helen Marnie joining Liverpudlians Danny Hunt and Reuben Wu in Summer 1999.

With five internationally acclaimed albums in ‘604’, ‘Light & Magic’, ‘Witching Hour’, ‘Velocifero’ and ‘Gravity The Seducer’ under their belt, LADYTRON are now working on their sixth long player after a hiatus of 7 years.

It will be released via Pledge Music, the crowdfunding platform which was used by Helen Marnie to support the recording of her debut solo offering ‘Crystal World’.

The new LADYTRON album has been launched with ‘The Animals’, a dark electronic rock number in the vein of ‘High Rise’, ‘International Dateline’ and ‘Tomorrow’ which also comes with a Vince Clarke remix.

With all systems go in the LADYTRON camp, Danny Hunt kindly took time out from the studio to chat about the new album, his favourite synths and his own career highlights.

When did the genesis for the first LADYTRON album in 7 years begin? Was it a gradual process?

We knew we were going to do it eventually, but various things made it not come together as early as we imagined. Huge changes in our personal lives, and our locations – two of us moved across hemispheres. In mid-2016, we felt ready to move ahead and began writing and planning.

Was there any point where you personally thought there might not be another album?

That was never a possibility.

Helen did two solo albums, but what were the rest of you up to during the hiatus? You co-produced Helen’s first solo offering?

Yes, I produced and co-wrote some of Helen’s first one. Since then, I’ve worked with some other artists that I felt a creative connection with, for example last year I co-wrote and produced an EP ‘Lua Vermelha’ with a very special artist in Brazil called LIA PARIS. I also produced LUSH’s comeback EP ‘Blind Spot’, which I loved doing. Other than that, film scores and some other things that’ll see the light of day soon enough.

Reuben has been concentrating on his photography, he’s built a big reputation with that.

Mira has been working a lot with documentaries which was always a love of hers. We’re generally creative people, and were never solely focussed on one project.

The individual members all live in different parts of the world now, so in terms of writing, has there had to be a more remote approach by necessity?

As it always was, even with the first five records we never lived in the same city, or at times even country, there were only brief moments when more than two of us did. Eighty percent of the time we weren’t living in the same place. The method is the same regardless of distance; we work, collaborate remotely and then come together for a period to turn the work we’ve done individually and collaboratively into a record.

How would you describe the creative dynamic of LADYTRON and how it has evolved over the years?

These days everyone is pretty much self-contained. Technology has changed enormously after all, when we began it was a different world in so many ways. And we were basically children playing around with brand new methods.

‘The Animals’ is the first single and appears to be a return to the harder, more intense sound of ‘Witching Hour’ and ‘Velocifero’?

Perhaps, but it’s still too new to judge.

Vince Clarke has remixed ‘The Animals’, how did he become involved and are you pleased with his quite different and more rigid interpretation?

I love it. I always wanted us to collaborate in some way with him. It came about when I remixed the ERASURE single last year.

After the textural atmospherics of ‘Gravity The Seducer’, is ‘The Animals’ representative of the new album’s overall sound? If not, how would you describe it?

Well the album isn’t finished, the songs are there but it has a long way to go. To me, it is difficult to describe beyond simply that it sounds very much like a LADYTRON record.

How do you now look back on ‘Gravity The Seducer’?

Very proud of it. It was intentionally more sedate, which was exactly what we wanted, needed at that time. Some of the tunes on it, such as ‘White Gold’ and ‘Transparent Days’, are amongst my favourite things we’ve done. I’ve had people whom I really respect tell me that they didn’t get into any of our stuff until that record.

The way music is financed and consumed has changed considerably since 2011 with crowdfunding and streaming more prominent. What are your own thoughts on this?

I don’t have strong feelings on any of this. I am rather traditionalist in this respect.

You’ve opted to market the new album via Pledge Music, had the band been drawn to it from Helen’s positive experience of it?

In our case, it is an ideal way to make records independently.

Being on Pledge Music often involves providing fly-on-the-wall insights into the recording process and other benefits, like CHINA CRISIS offered an opportunity to see Liverpool FC match with a band member while GARY NUMAN sold his old gear. As a band who have generally not courted a personality based profile in the past, have you decided what types of updates you will do yet?

We don’t know yet.

You’re offering vinyl, CD and download versions of the new album, but also cassette! Have you got your head around why there’s a resurgence in this format, what are your own memories of using cassettes?

I’m of the generation for whom the cassette was the format of choice, I never accepted that it went away.

Isn’t there just a general longing for actual objects now that our digital lives can evaporate in a moment?

And is not just in the case of records, for example I now buy more actual books than I ever did. We need to leave the historians some physical record of our culture.

Have you added any more vintage synthesizers to your armoury for the new album or have you moved towards VSTs these days? Do you have a particular favourite synth?

We have all our old toys and a couple of new ones. I had to transport as much of my gear as I could halfway across the world to fit my studio out down here. Each time I returned home, I brought a few more things south with me. I love my Crumar Stratus, that and the SH-2 are my main instruments.

What do you think about these recreations like the Korg MS20 Mini, the Korg ARP Odyssey or the new Minimoog?

About 15 years ago, we begged Korg to make a new MS20. We insisted that if they were available, they’d become as ubiquitous in studios as a bass guitar.

So I’m all for this gear being available in a cheap, practical and reliable way. We sometimes used to burn through old analogue synths every couple of days on the road – rare gear we had collected over many years.

As LADYTRON’s guitarist, how do decide when it’s best to integrate the instrument into proceedings?

I’m a keyboardist, guitarist, bassist whatever. To me, through a chain of effects, it’s just another object that makes noise.

Are you self-producing the album or have you brought in an outsider for this?

We have people we trust and work with regularly. How we are going to approach this one is still being discussed.

Are you able to reveal any of your own personal highlights of the new album? What are your hopes and fears after 7 years away?

It’s early days to talk about highlights as there are still tracks being worked on. All I’d say is that we are already very happy with how it is progressing.

Do LADYTRON intend to tour the new album?

Yes, we will, but the most important thing for us is to make a new record. Once that is done we will think about everything else.

Which territories have generally been your strongest?

Besides the US, Canada, Spain and various countries in the EU, we always did well in South and Central America. But we’ve been all over. Australia. China. It is hard to say which is strongest because obviously everyone does more shows in the EU and North America, where we have always done well with our tours.

What’s your proudest achievement as a member of LADYTRON? Any particular songs, shows or tours?

Sydney Opera House for Brian Eno was special obviously. When something exceptional happens – like we played China when very few had, and in Colombia at a time when almost no artists would go there because of the civil war – those ones stick in the memory.

I’m simply proud that our work has reached people, that we’ve made five albums and we’re making another.

ELECTRICITY CLUB.CO.UK gives its sincerest thanks to Danny Hunt

Special thanks to Steve Pross at Disco Piñata

The new LADYTRON album will be released via Pledge Music, along with a 7 inch single of ‘The Animals’ – details at https://www.pledgemusic.com/projects/ladytron

2018 UK live dates include: Glasgow O2 ABC (Friday 2nd November), Liverpool O2 Academy (Saturday 3rd Nov), London Roundhouse (Sunday 4th November)

http://www.ladytron.com

https://www.facebook.com/ladytron/

https://twitter.com/LadytronMusic

https://www.instagram.com/ladytronmusic/

Text and Interview by Chi Ming Lai
20th March 2018, updated 16th April 2018

ALKA The Colour of Terrible Crystal

26 December 2017 /

Released in the Autumn on Vince Clarke’s Very Records, ‘The Colour of Terrible Crystal’ is the third album release by ALKA.

Named after a quote from anarchist philosopher Peter Lamborn Wilson’s vast study of angels, the long player is the work of Philadelphia-based musician Bryan Michael.

While ‘The Colour of Terrible Crystal’ is musically eclectic, it differs from his other ALKA work in that a pop element is omnipresent, a quality that can perhaps be attributed to the presence of Vince Clarke who assists on co-production and programming.

This is particularly evident on the beautifully vocoder rich ‘Melancholy Lasts’ which comes over like Giorgio Moroder doing ‘Moments In Love’ as a love theme for a ‘Midnight Express’ remake. But to say this is album is pop as in ERASURE would be misleading; ‘Betablockers’ takes in some of ORBITAL’s rhythmic experimentation before ‘Over Hills And Vales’ exhibits avant minimalism in the vein of Stockhausen.

The artful ‘Collusion’ recalls Brian Eno around his ‘Another Green World’ period before the beat loops kick in, accompanied by a pleasing female vocal. Cut from the opposite end of the electronic spectrum, the stuttering backbone that accompanies the blips and blops of ‘Questlore’ is unsettling yet the track is strangely listenable, especially when it enters a melodic synth phase that is wholly unexpected.

Talking of unexpected, ‘Truncate’ goes full-on electro-funk and could be mistaken for LES RYTHMES DIGITALES. Then there’s the beautiful cinematic beauty of ‘Piece’ and the slightly more dramatic overtures of ‘Collusion’.

‘Wrong Side Up’ adds some percussive noise to the palette before the closing oddball number ‘We Are Free Forms’ does what it says on the tin with warbles of hypnotic synthbass incongruously combined with an angelic soprano.

As far as modern instrumental based albums go, ‘The Colour Of Terrible Crystal’ is much more accomplished and inventive than say ‘MG’ and successfully avoids the clichés found within predominantly wordless sub-genres like EDM and Synthwave.

‘The Colour of Terrible Crystal’ is released by Very Records as a download, CD available from http://veryrecords.com/shop/

http://magicksquares.com

https://www.facebook.com/buryn/

https://twitter.com/_alka

Text by Chi Ming Lai
26th December 2017

A Short Conversation with POLLY SCATTERGOOD

5 June 2017 /

While best known as a solo artist signed to Mute, Essex songstress POLLY SCATTERGOOD recently won acclaim for her hauntingly spacey vocal in a new epic arrangement of ‘Video Killed The Radio Star’.

Subtitled ‘Dark Star’, it was recorded with one of the song’s co-writers Bruce Woolley. Never one for convention, for Record Store Day 2017, she not only released a physical edition ‘Video Killed The Radio Star’ exclusively in CD format, but it was also only available online.

Scattergood’s self-titled debut came out on Mute in 2009 on which revealed herself to be a promising talent unafraid to express emotion and vulnerability. One of the album’s highlights ‘Other Too Endless’ was remixed by Vince Clarke and showed how her music could work within a synthesized environment.

And it was on second album ‘Arrows’ in 2013 featuring the electro-COCTEAU TWINS twist of ‘Wanderlust’ that she was able to indulge in some of her more technological aspirations, while ‘Cocoon’ exposed her enticing vulnerability over an eerie soundscape.

But in 2015, Scattergood headed in the opposite direction in collaboration with Mute label mate James Chapman of MAPS; their ON DEAD WAVES project featured a more guitar oriented and retro-based aesthetic than any of their individual works. But in acknowledgement of their Mute roots, the pair recorded an Americana flavoured cover of YAZOO’s ‘Only You’.

With ‘Video Killed The Radio Star (Dark Star)’ riding high on the airwaves, POLLY SCATTERGOOD had a quick chat about her future plans…

How did your ‘Video Killed The Radio Star’ collaboration with Bruce Woolley come about?

Bruce contacted Mute a while ago asking if I would be interested in working with him on ‘Video Killed The Radio Star’. I am a fan of his work so we got together in his studio and played with some ideas.

You got to dress up like Barbarella in the video and handle a VCS3, where did that come from and have you had a go on a working one?

Bruce and I met for drinks in London and he pulled out all of these sketches of space scenes and other worldly beings that he had in his head and it just kind of flowed from there… we then discussed wires and electronics as we both love synths and couldn’t resist having the beautiful VCS3 in the video.

Bruce has some amazing instruments in his studio. My synth obsession began very early as my mum’s sister (Elizabeth Parker) worked at the Radiophonic Workshop for years. I watched her on some wild videos playing these incredible machines growing up, I always wanted to play them myself, but they aren’t the kind of thing you get your hands on easily!

When I signed to Mute, Daniel Miller showed me the Mute studio which had a pretty amazing collection of equipment which I was lucky enough to have access to. I think that’s partly why my first album took so many years to make, I had too many toys to play with!

You’re no stranger to cover versions with standards like ‘The Look Of Love’, ‘New York New York’, ‘Comfortably Numb’ and ‘Only You’ among the songs you have performed. Are there any others you’d like to try out?

Lots, but it’s a case of feeling inspired to add something new or different to a track, rather than regurgitating something for the sake of it.

The Vince Clarke remix of ‘Other Too Endless’ from your debut album will be appearing on a compilation out soon. What was the inspiration behind the song, both lyrically and musically?

Musically it was all about keeping the vibe quite linear and numb, but with these big swells and lot and lots of layers that build. The siren you hear was picked up on a mic as we recorded the vocal in the Mute studio on the Harrow Road. It was just all capturing a kind of bitter sweet bleakness and then processing it through the music. Lyrically, it’s a very long story… involving black zambuca…

The resultant remix from Vince Clarke was very different from your original. What were your thoughts when you first heard it? What did you particularly like about it?

Vince Clarke really went straight to the heart of this song with his remix. He kind of stripped away all the layers I had buried myself in and left my vocal naked in parts. When I write and work on producing these songs, I often leave these little secrets in them, especially in the production. Like clues to where they came from. Sometimes people hear them and sometimes they don’t, but what Vince did was brave. He took away the safety net of layers and added a starkness and a strength to the song which I would never have been able to achieve on my own.

It didn’t stop there because you did ‘Ghostgirl Lovesick’ with Vince Clarke too, what was the collaboration process for that?

I was living in a tiny studio flat in an attic opposite the Forum in Kentish Town at the time and recording all my ideas onto mini disk. These ridiculously beautiful books, created by Tonya Hurley, arrived on my door step and they really inspired the song. I worked on the track closely with both Tonya and Vince, then I recorded some ideas onto mini disk… wow that makes me feel so old but it wasn’t that long ago, right?!

I sent them over to Vince who then worked his magic. You can hear bits of the room of the recording but I kind of love that, it all just made it much more intimate.

Has a full collaborative with Vince Clarke ever been discussed? What do you think it would sound like?

It’s never been discussed, and I never know what anything will sound like until it’s finished so I couldn’t hazard a guess at how a collaboration would sound…but Vince is awesome, I’m a big fan of his work, and always open to interesting collaborations, so never say never!

You’ve always been quite open to the remix process with THE GOLDEN FILTER, ANALOG SUICIDE, FORT ROMEAU and MAPS being among those who have given reinterpretations of your work. Do you have any favourites?

I only release remixes I really love so they are all quite special to me in different ways and for different reasons. The Vince remixes will always be very close to my heart. I also love the ANALOG SUICIDE (Tara Busch) remix of ‘Bunny Club’. I released it on limited edition cassette tape I loved it so much. Also MAPS (my label mate and ON DEAD WAVES collaborator) has a way of making everything sound epic and dreamy!

So how do you look back on your most recent album project ON DEAD WAVES with James Chapman of MAPS?

ON DEAD WAVES is a real joy to be part of. It’s a project I feel incredibly proud of. James is an incredible musician and has a very calm studio vibe. Our creative process was pure and there was no outside pressure or interference.

We both share the same manager, he was very supportive of the whole process and keen that we stay focused and don’t worry about anything other than the music, so that’s what we did.

It was just me and James in the studio where we would work late and get up strangely early. We were doing what we love so the studio bubble is a good place to be in.

When Mute heard the album, they really took it in the spirit it was intended and spent a long time working with us on the artwork and creative side of things, making it really reflect the empty expansiveness of the sound. We had a lot of fun, played some amazing gigs, from the beautiful Roundhouse in Camden to supporting M83. So yeah, ON DEAD WAVES is a project which I have a lot of love for and continue to do so!

‘Blackbird’ allowed you and James to pursue your Nancy and Lee fantasies?

We didn’t talk about musical references when writing, we shared a lot of art and film references though.

It’s almost time for solo album number three. What direction are you heading in for that following the first two, quite varied offerings and ON DEAD WAVES?

Yeah the first two had many different influences and styles. I was experimenting and learning as I went along… I don’t make albums fast…

I have hundreds of songs on my hard drive, but none of them are ready to be put into an album yet. I’m working on a little EP idea with Jim Sclavunos at the moment. Don’t want to give too much away though as it’s very early days but it’s all exciting.

People are still discovering your work. For anyone reading here about you for the first time, which five tracks would you suggest they check out to understand you as an artist in your various guises and collaborations?

Hmmm that’s hard I guess in order to go on the same journey I have, maybe listen in chronological order…

‘Nitrogen Pink’
‘Falling’
‘Miss You’
‘Blackbird’
‘Winter’s Child’

ELECTRICITYCLUB.CO.UK gives its warmest thanks to POLLY SCATTERGOOD

Special thanks to Roland Brown at RKB Management

‘Video Killed The Radio Star (Dark Star)’ is released as a download single by Gramophone Records

http://www.pollyscattergood.com/

https://www.facebook.com/polly.scattergood/

https://twitter.com/pollyworld

Text and Interview by Chi Ming Lai
6th June 2017

DAILY PLANET Play Rewind Repeat

26 May 2017 /

DAILY PLANET came into being when two Swedes, Jarmo Ollila and Johan Baeckström decided to form a synthpop band in 1994.

Having released two noteworthy singles and a long player two years later, the band stopped with few promises of albums never quite materialising. Surprisingly eighteen years on in 2014, the duo brought out an excellent comeback with ‘Two’, released by Progress Productions, home of the highly acclaimed KITE.

Neither of the two gents rested on their laurels however, with Baeckström bringing out his debut solo outing ‘Like Before’ shortly after. With the very obvious connotations to ERASURE and their sweetly synthesised gems, ‘Like Before’ sounded grown up and optimistic, proving that he could hold the notes as well as Ollila, sounding like Andy Bell himself in places.

But now DAILY PLANET are back with another surprising opus, which will turn heads and make folk reach for their dancing shoes. ‘Play Rewind Repeat’ hits straight up with ‘Goodbye Late Nights’, which doesn’t shy from using Clarke / Bell sound signatures, but as James Nice of the prestigious Belgian record label Les Disques du Crépuscule once put it: “I have no problem at all with something new being imitative, as long as it’s good”.

More thought provoking is ‘Grains Of Sand’ with its immaculate tempo changes and ‘Fire In Me’, which is reminiscent of the early works of DEPECHE MODE. The title ‘Set Me Free’ to any self-respecting DEPECHE MODE fan will bring back memories of the B-Side to ‘Master And Servant’, but here it is faster and happier. And no, it’s not a cover. The mindful ‘Drown’ calms things down with elaborate synth masterdom and almost filigree textures in the production.

Cult British New Romantic act WHITE DOOR make an appearance on ‘Heaven’, with Mac Austin lending his vocal. The singer himself expressed his gratitude for the opportunity, saying that he was “so honoured to sing for my talented friends on this wonderful track”. Musically, this is an eclectic mix of the best of what the synth era has achieved; uncomplicated but very poignant, very DURAN DURAN.

‘Why’ is a bit A-HA, and with that, rather superb. No need for the time machine to go back thirty years. It’s ERASURE meets early DM, with an amazing amalgamation of analogue. The sweetest ‘Over Water’ exhibits elements of CAMOUFLAGE and the shine of ‘Silver Moon’ expands itself with wonderfully warm vocals and lovely musicality.

While ‘Tranquility’ isn’t tranquil at all, ‘Vicious Circle’ alludes to “going backwards in time”, which is a very fitting statement for the entire album. The long player is closed with the dreamy ‘Weeping’, which sits supremely between PET SHOP BOYS and DM, and it wraps up the “time machine experience” beautifully. Time to rewind…

‘Play Rewind Repeat’ is simply what it says in the tin; you’ll play, you’ll rewind and you’ll certainly repeat, with the moods lifted and your feet sore. So what if it reminds you of certain ERASURE, DM or YAZOO tracks? Johan Baeckström certainly doesn’t mind the comparisons.

Chatting to ELECTRICITYCLUB.CO.UK last year, he said that “In my book, the two YAZOO albums are the pinnacle of electronic pop. It can’t get any more perfect than that”, adding “I can still remember exactly where I was when I first heard ‘Nobody’s Diary’, which was the song that opened a whole new world of synthpop for me. I think it’s only natural that this reflects in my own music and it is, by far, the most common comparison people make, which of course is flattering”.

The good memories are continuing, with new ones being built upon this capable production. DAILY PLANET, we are loving having you back!

‘Play Rewind Repeat’ is released by Progress Productions in CD and download formats, available from http://progress-productions.com/

https://www.facebook.com/dailyplanetband/

Text by Monika Izabela Trigwell
26th May 2017

« Older posts Newer posts »

© 2017 ELECTRICITYCLUB.CO.UK | Email: theelectricityclub@googlemail.com
Privacy Policy

Up ↑