Category: Introducing (Page 15 of 26)

Introducing KALEIDA

7 March 2016 /

London based duo KALEIDA first gained wider attention while supporting Róisín Murphy on her 2015 European tour.

Some have compared vocalist Christina Wood and synthesist Cicely Goulder to PURITY RING, AUSTRA and LADYTRON. ELECTRICITYCLUB.CO.UK thinks their brooding demeanour is more akin to BLACK NAIL CABARET, EMIKA and early EURYTHMICS.

Formed in 2013, Goulder had been working in the film industry and her contacts no doubt helped KALEIDA’s first single ‘Think’ to be considered for inclusion on the soundtrack of the 2014 noir action thriller ‘John Wick’, starring Keanu Reeves. With hints vocally of LONDON GRAMMAR and KOSHEEN, the thoughtful synthpop approach of ‘Think’ contrasted the violence it accompanied. It became the title track to their eventual EP issued in April 2015.

From it, the almost spritely ‘Tropea’ maintained the standard of ‘Think’, with a bass synth motif seemingly borrowed from the middle section Jean-Michel Jarre’s ‘Second Rendez-Vous’. Meanwhile ‘Aliaa’, a tribute to women’s rights activist Aliaa Magda Elmahdy, showcased their developing downtempo sound and a haunting drum machine driven reinterpretation of Al Green’s ‘Take Me To The River’ illustrated the breadth of their musical knowledge and a knack for inventive cover versions.

While some acts have been trying to make a big noise about themselves after just a handful of singles, KALEIDA have been biding their time, letting the music and visuals do the talking for them. They have gradually and carefully built up a mystique that provokes curiosity.

From their recently released second EP ‘Detune’, the marvellous ‘It’s Not Right’ stands head and shoulders above much of the output that has been released independently in the UK during the last 18 months. With a contemplative atmosphere providing resonance, a spike in tempo utilising sequences and variation in percussive colours provides an access point for those intrigued by KALEIDA.

The deeper stance displayed on ‘Aliaa’ makes its presence felt on the mellow title track and ‘Power’; both show a close affinity with EMIKA, with the prominent use of multi-layered voices, sub-bass and inventive percussion programming on the former. However, be prepared for a surprise with the vocal arrangement for THE CURE’s ‘A Forest’, which is almost from the folk tradition and barely recognisable from the original.

KALEIDA are in the studio to record their debut album for 2017 release. Based on the evidence of the two EPs so far, it will be eagerly anticipated.

‘Detune’ is released as digital EP by Lex Records, available from http://shop.lexrecords.com/products/detune-ep

https://www.kaleidamusic.com/

https://www.facebook.com/KALEIDAMUSIC/

https://soundcloud.com/kaleidamusic

https://kaleida.bandcamp.com/

Text by Chi Ming Lai
7th March 2016

Introducing GWENNO

24 October 2015 /

Recently appearing on BBC4’s ‘Music For Misfits’ documentary series, Gwenno was featured as an example of Heavenly Recordings continuing role as an independent music platform, having previously launched the careers of SAINT ETIENNE, MANIC STREET PREACHERS and Beth Orton.

Born in Cardiff, Gwenno Saunders is the daughter of noted Cornish poet Tim Saunders and Lyn Mererid, a member of the noted socialist choir Côr Cochion Caerdydd. Gwenno’s Welsh and Cornish heritage has allowed her to develop a unique brand of lo-fi electronica. In this diverse cultural environment, she also trained as an Irish dancer and cast in Michael Flatley’s ‘Lord Of The Dance’ at 17, eventually playing a lead role in the Las Vegas production.

Her first EP ‘Môr Hud’ was actually released as far back as 2002. In 2004, she featured on ‘Ysolt Y’nn Gweinten’ by CELTIC LEGEND, the project of former GAary Numan keyboardist and Cornishman Chris Payne. Beginning a tradition that continues to this day, the Cornish text on this song was written by her father.

Gwenno_Y_DYDD_OLAF

Gwenno joined girl group THE PIPETTES in 2005, singing lead vocals on the minor hit single ‘Pull Shapes’. When THE PIPETTES fragmented, her younger sister Ani (who had been in the MKII line-up of GENIE QUEEN managed by OMD’s Andy McCluskey) joined the group.

In 2010, they released an electropop flavoured album ‘Earth Vs The Pipettes’ produced by the late Martin Rushent, best known for his work with THE HUMAN LEAGUE. GWENNO’s electronic connections continued when she toured as a synth player with Australian dance combo PNAU in 2012.

That same year, she released a Welsh language cassette and download EP called ‘Ymbelydredd’ on Peski Records; they were to put out her full-length debut ‘Y Dydd Olaf’ in October 2014. Now reissued by Heavenly Recordings, Gwenno has deservedly gained an increased profile for her music.

With beautiful, traditionally derived melodies placed in a spacey yesterday’s tomorrow setting like Hannah Peel meeting BROADCAST, her style of music encompasses cosmic moods and synthetic textures produced by her husband and Peski label boss Rhys Edwards. The long player’s ten songs confront issues such as manipulation by the media, patriarchy and the decline of minority languages.

The ‘Y Dydd Olaf’ title comes from Welsh author Owain Owain’s sci-fi novel where brain-invading robots overpower humanity, except for Welsh speakers whose thoughts they can’t penetrate. ‘Patriarchaeth’ provides a Motorik backbone for assorted synths to sparkle and pulse around, while translated as “heart of the machine”, ‘Calon Peiriant’ blends hypnotic sequences and reverbed guitar into a lounge laden sonic sandwich that is reminiscent of BROADCAST and ‘604’ era LADYTRON.

Beginning with a music box, the airy crystalline alt-pop of ‘Stwff’ reflects on growing up and wanting to fit in, before culminating in a realisation of identity loss. Reflecting her Cornish ancestry, the album’s closing track is the gorgeously ethereal ‘Amser’, a musical interpretation of a poem written by her father.

In an international electronic pop market where Swedish, German and Greek acts sing in English, GWENNO’s ethos is unique, not only in utilising a minority language, but also as a by-product of music no longer being a potentially life sustaining career; by paradoxically creating a sympathetic environment where artists have nothing to lose, they can express themselves wholeheartedly, both artistically and culturally.

While melancholic, Gwenno is an intriguing listen and a joy to the ears.

‘Y Dydd Olaf’ is released by Heavenly Recordings in CD, deluxe CD, vinyl LP and download formats

http://www.gwenno.info/

https://www.facebook.com/Gwennomusic

https://ydyddolaf.wordpress.com/

Text by Chi Ming Lai
Photo by Jacek Davis Photography
24th October 2015

Introducing PRESENCE OF MIND

15 September 2015 /

PresenceOfMind by Krichan Wihlborg

Although PRESENCE OF MIND released recordings as early as 1995 on the cult synth compilation ‘Circuit One’, the Swedish trio only released their debut album proper in the summer of 2014.

Their first recordings borrowed from the Vince Clarke school of synth programming but today, PRESENCE OF MIND are a much darker but no less song based proposition.

Influenced by the likes of MESH, DE/VISION and inevitably ‘Violator’-era DEPECHE MODE, childhood friends Christoffer Lundström, Johannes Ambros and Anders Wallroth have taken their time.

But without the pressure of constant touring, they’ve utilised a developing songcraft and life experience to pay dividends on the resultant long player entitled ‘Interpersonal’. Utilising the crisp production ethos of Wallroth and Ambros, ‘One Step I’ takes some killer squelch bass and places it alongside the strong, melodic vocals of Lundström.

Just accorded a new promo video, the track is a great bleep forward from their earlier work and the interim ‘Between Emotions’ EP from 2005. Another good example of their passionate synth rock is ‘Queen Of Redemption’, an obvious second cousin of ‘Enjoy The Silence’ but with a Svenske twist.

PRESENCE OF MIND are an enticing live proposition, as proven by their impressive appearance at the pre-party of Electronic Summer 2015 in Gothenburg. Lundström in particular, is a charismatic and engaging frontman with a lively but controlled stage presence that contrasts the dark, but danceable electronic soundtrack.

With excellent uptempo songs such as ‘Alive’ and sensitive ballads like ‘In My Dreams’ in their repertoire, the threesome from Mariestad are already at work on a second album to maintain their new-found momentum with tracks such as ‘Brittle Bones’ already having received public premieres. PRESENCE OF MIND are now finally knocking on the door of Northern Europe and making a positive impression on its independent electronic pop scene.

‘Interpersonal’ is released as a download and CD via Cramada

https://www.facebook.com/PresenceOfMindSwede

https://twitter.com/POMelectro

Text by Chi Ming Lai
Photos by Krichan Wihlborg
15th September 2015

Introducing BECKY BECKY

2 September 2015 /

BECKY BECKY 03

Brighton’s BECKY BECKY are a well-read synth duo who use their volatile relationship to inspire their obscure cabaret electro.

Former lovers, the chemistry of Gemma Williams and Peter Mason has produced a number of feisty, passionate songs as showcased on their 2014 debut album ‘Good Morning, Midnight’. Just released as a single is ‘House Of The Black Madonna’, a ditty based on the novels of Jean Rhys.

It is lucid stuff that tells the story of an ageing woman drinking herself to death to a sleazy soundtrack of disco beats and piercing synths. Further highlights from ‘Good Morning, Midnight’ include the building cacophony of ‘Mask’. Sounding like a distant cousin of ‘Fade To Grey’ powerfully rebuilt for the electroclash generation, it is perhaps the perfect representation of the pair’s tumultuous relationship together and the ultimate slice of modern Blitz pop.

As exemplified by songs like ‘Fire & Wings’, ‘Quite Like Old Times’ and ‘Sophia’, BECKY BECKY conceptually come over like other European cabaret inspired duos such as NOBLESSE OBLIGE or a wayward VILE ELECTRODES.

Intense and raw they may be, but captivating they are also too. Quite whether the tension within BECKY BECKY will allow Williams and Mason to actually record a second album remains to be seen.

‘Good Morning, Midnight’HOBM copy is released by FEINT records and available as a download from Amazon

The download single ‘House Of The Black Madonna’ featuring an extended live version is released on 7th September 2015

http://becky-becky.com/

https://www.facebook.com/beckybeckymusic

https://beckybecky.bandcamp.com/

Text by Chi Ming Lai
2nd September 2015

Introducing ELECTROGENIC

18 August 2015 /

From Monza, home of the Italian Grand Prix, come ELECTROGENIC, a duo who formed in 2014.

Comprising of LaCrisi (vocals / synths) and Stefano Lugo (vocals / synths / programming), they met on domestic underground club scene. Since starting to work together, the pair have developed an unashamedly synthpop sound, as showcased on ‘Game Over’, the first song they unleashed to the wider public.

Preferring abstract lyrics open to interpretation, the appealing number reflects the classic influences of DEPECHE MODE and DURAN DURAN in a good, disco friendly tune that sits nicely within a dark electronic atmosphere à la LADYTRON. Add in fizzy synths and a wonderfully continental allure from LaCrisi, ‘Game Over’ is a fine calling card.

ELECTROGENIC’s debut album ‘Double Exposure’ was released earlier in the summer and is an interesting hybrid of contrasts. With an energetic buzzy intro , the new single ‘Skills’ bursts with robotic tension and a dual vocal attack, while the closely related ‘The Deluge’ sees Lugo taking lead vocal for a fierce slice of futurepop. However, much lighter in tone, ‘Another Day’ brings in the influence of Vince Clarke and comes over as something more brightly optimistic.

The more sedate ‘Home Again’ bases itself around a circulating lead line and pulsating NEW ORDER-ish bass sequences that recall the template of cult Italian synth combo HIDDEN PLACE. Meanhwile, the pace of the more frantic ‘Insane’ corresponds with the title, while ‘Rise Up’ adds whistling alongside some doomy drones and Gothic overtures.

With a melodic immediacy, a slice of darkness and a subtle dance factor, ELECTROGENIC have proved that electronic pop music is very much alive and well around Southern Europe. Remember how MARSHEAUX’s ‘E-Bay Queen’ was promising rather earth shattering? But the Athens based synth maidens developed to become one of the best loved independent synth acts in Europe. So with ELECTROGENIC’s next set of songs, things could get really interesting.

‘Double Exposure’ is available via Bandcamp at https://electrogenic.bandcamp.com/

http://www.electrogenic.net/

https://www.facebook.com/Electrogenicband

Text by Chi Ming Lai
18th August 2015

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