Category: Live Reports (Page 8 of 36)

REIN, KOMPUTER + IMI Live at Electrowerkz

10 December 2019 /


It has been said before, but the best electronic events are those put on by actual electronic music enthusiasts.

Nordic friendly blog Cold War Night Life brought Sweden’s REIN over for a first UK show and she didn’t disappoint with her hard hitting, adrenaline pumping EBM with a pop twist.

In a stylistically eclectic evening, electronic duo KOMPUTER made their live return after their last appearance at Mute Presents Short Circuit in 2011. The label veterans also promised music in their previous guises I START COUNTING and FORTRAN 5. But opening was the up-and-coming Leeds based songstress IMI.

Possibly the best new young synth talent in the UK right now, IMI is blessed with a glorious soprano in the vein of Alison Goldfrapp and Tara Busch. Her debut EP ’Lines’ released this year showed potential and promise, impressing the likes of Mark Reeder, Chris Payne, Paul Statham and Sarah Blackwood along the way.

In her third live appearance in the capital, IMI opened her set of intelligent avant pop with ‘The Fence’. With a reasonably sized crowd gathering early to witness her performance, she immediately impressed with her glorious soprano, inventive electronic arrangements and a beautiful booming crescendo.

New song ‘Monolith’ suitably provided a widescreen pillar to the rest of the set, the end section of which began with the eerie but uplifting ‘I Feel Alright’ which recalled the work of I SPEAK MACHINE. Encapsulating the delightful oddness of GOLDFRAPP in their ‘Felt Mountain’ phase and trip-hop, with a piercing cry on the caesura, the magnificence of ‘Margins’ had those who had been unaware of IMI before looking at each other suitably impressed.

Illustrated with a great light show to suit the gothic surroundings of Electrowerkz, it was short set from IMI but it left people wanting more. And as their cheers combined with those of her family members present, there was a sizeable noise of approval for the first act of the night.

Wearing their red overalls from the 2007 ‘Synthetik’ campaign, David Baker and Simon Leonard opened their comeback set with ‘Looking Down On London’ from ‘The World Of Tomorrow’ album which was sampled by OMD in its ‘Metroland’ variant.

The pair delivered on their promise of playing I STARTING COUTING and FORTRAN 5 material with ‘Letters To A Friend’, ‘Heart On The Line’, ‘Time To Dream’, ‘Lose Him’ and ‘Million Headed Monster’ all getting a welcome airing.

Baker was on top form with his deadpan vocals while positioned behind his Korg Poly 800x as Leonard counterpointed robotically with a MicroKorg vocoder.

The brilliant ‘We Are Komputer’ from the debut KOMPUTER EP got people dancing, while the pretty octave shifting pulse ‘Still Smiling’ recalled the more carefree times of 1985 when I START COUNTING got the Daniel Miller production treatment assisted by Flood.

Best of all though was a powerfully faithful rendition of ‘Valentina’, probably the best know KOMPUTER song and their touching tribute to “the first woman hero of the modern age” with its echoes of KRAFTWERK’s ‘Das Modell’.

Concluding with rhythmic strike of ‘The Man Machine’ aping ‘Bill Gates’, KOMPUTER’s return to the stage was complete and more than satisfied the many Mute enthusiasts who had missed the presence of Baker and Leonard over the past few years. While KOMPUTER have remixed BLANCMANGE and METROLAND of late, what their followers really want is new material. It will be interesting to see what happens next.

Feisty and ambitious, despite the acclaim of her debut self-titled EP from 2016, REIN focussed on new material for her first ever London performance. Accompanied by the striking statuesque presence of Josefin Ahlqvist Lyzwinski on percussion, the young Swede opened with ‘Reincarnate’ by way of a mission statement.

Swathed in shades of blue light and exuding sweaty energy, the self-explanatory ‘Bodyhammer’ and ‘Accelerate’ continued the attitude with their loudness blows well-placed in the industrial friendly venue. The thrust of ‘Bruises’ added a sinister S&M edge, but the best track of the evening proved to be a new number called ‘Thieves’.

REIN discovered electronic music after seeing KRAFTWERK at the age of thirteen, so ‘Thieves’ carried over some of that teen angst, presenting a hardened homage to ‘Tour De France’ that was tough yet very catchy. The punchy new single ‘Off The Grid’ provided a calling card to REIN’s upcoming debut album while ‘Concrete Jungle’ was the only concession to her debut EP.

But she finished her set with two songs from 2017’s social-politically themed statement of the ‘Freedoom’ EP. The highly danceable ‘Misfit’ channelled aggression to a good beat while the broader modern electro-punk sound of the chant-laden call to action ‘C.A.P.I.T.A.L.I.S.M’ made REIN’s views clear, much to the approval of those moshing in front of her.

A true ‘Rebel Girl’ as suggested by the track from her debut 2016 EP, REIN showcased 45 minutes of progress such that there was no need for that song, ‘Can’t Handle Me’ or ‘I Don’t Get Anything But Sh*t From You’ in her set.

The evening presented three very distinct branches of electronic music, but with KOMPUTER’s long standing links, IMI’s obvious musical debt to GOLDFRAPP and the influence of NITZER EBB on REIN, if there was a relatable thread, then it was the artistic legacy of Mute Records.

With Mute Records sending along a representative and Sarah Blackwood from former Mute offshoot Toast Hawaii signings CLIENT also attending, the circuit was complete. As a punter who had also been to previous shows said afterwards: “You don’t put on sh*t do you…”

The organisers give their sincerest thanks to all the artists, Mute Records and the team at Electrowerkz

https://www.facebook.com/reinofficialmusic/

https://www.instagram.com/_reinofficial_/

https://komp46.wixsite.com/komputer

https://www.facebook.com/KomputerOfficial/

https://www.facebook.com/imimusicuk/

https://www.instagram.com/imimusicuk/

http://www.coldwarnightlife.com/

http://agaslobodzian.co.uk/

Text by Chi Ming Lai
Photos by Aga Słobodzian
10th December 2019

OLLIE WRIDE Live at Camden Assembly

29 November 2019 /


If Billy Idol was punk’s crossover success story into the international mainstream, then Ollie Wride could become synthwave’s…

Although best known as the voice for FM-84 and featuring on the acclaimed 2016 album ‘Atlas’, Wride’s recently released solo debut ‘Thanks In Advance’ co-produced by Michael Oakley proved that the suave Brightonian could cut it outside of the nest.

Channelling his inner Lindsey Buckingham with a dash of Kenny Loggins, ‘Thanks In Advance’ possessed swagger, style and most importantly of all, good tunes. Embracing that Trans-Atlantic friendly sound which was once the staple of MTV when it bothered to play music, OLLIE WRIDE unashamedly partied like it was 1985.

Indeed for his sold out debut solo show at London’s Camden Assembly, that era was effectively recreated and began in earnest with the feisty synth rock of ‘The Driver’. Coming over like a cross between Jim Kerr and Billy Idol, its groovy vibe brought to mind the productions of Keith Forsey who not only worked with SIMPLE MINDS, THE PSYCHEDELIC FURS and ICEHOUSE but also the man born William Michael Albert Broad.

Having also co-wrote ‘Flashdance… What A Feeling’, ‘The Never Ending Story’ and ‘Don’t You (Forget About Me)’, the former Giorgio Moroder apprentice and drummer could in some ways be seen something of an indirect muse in The World of Wride, such has been Forsey’s impact on the cultural landscape.

With a natural energetic on-stage charisma, Wride was effectively off the leash as he posed and strutted along the ‘Miracle Mile’. Following on, the rousing ‘Never Live Without You’ rocked with a fine balance of synths and guitar; backed on the latter by Josh Dally who played with Wride in FM-84, drum duties were conducted by another FM-84 cohort James Cross who did a superb job to compliment the electronically laden sound and crucially, did not overplay.

The TEARS FOR FEARS drive time shuffle of ‘Overcome’ kept the momentum going as Wride played the keytar man but for the gently percussive ballad ‘The Rising Tide’ with its hints of MR MISTER, he walked over to his M-Audio keyboard before settling down Richard Marx style for the appropriately moonlit ‘Luna’.

A nice surprise from the soon-to-be-issued deluxe edition of ‘Thanks In Advance’ came with ‘Stranger Love’, a new collaboration with SUNGLASSES KID which perhaps unsurprisingly sounded like a NINA track but with a male vocal.

However, this premier got trumped by an unexpected cover of Peter Gabriel’s ‘Sledgehammer’ with its classic art funk satisfying the enthusiastic crowd and perhaps summing up Ollie Wride’s ultimate ambitions. To close the main set, a hypnotising performance of the brilliant ‘I’m A Believer’ saw its synthy cascade point towards Hollywood but what everyone wanted now was an encore.

With chants from the audience of “ONE MORE SONG!”, Wride actually gave them two in the shape of the soulful pop of ‘Back To Life’ and ‘Running In The Night’, probably his best known song with FM-84. With an anthemic state of tension and urgency in the vein of ‘The Boys of Summer’, the response from all those present was nothing short of ecstatic with a mass communal singalong.

One thing that stood out tonight was Wride’s endearing stage craft which was not only engaging but also probably as good George Michael when he was in his live prime.

What Ollie Wride has managed to do is straddle a variety of musical styles and blend them into a melting pot of accessible pop. Some might consider it bland, but others call it entertaining and his aspirational persona is a refreshingly uplifting tonic in these darker times.

So don’t snooze and lose when he next performs somewhere near you. If there is any justice, he will be playing arenas within a few years and it won’t be so easy to get so close to one of the scene’s undoubted stars.

With thanks to Outland

‘Thanks In Advance’ is still available in various formats from https://newretrowave.bandcamp.com/

https://olliewride.com/

https://www.facebook.com/olliewrideofficial/

https://twitter.com/OllieWride

https://www.instagram.com/olliewride/

https://www.weloveoutland.com/

Text by Chi Ming Lai
Photos by Gina-Leigh Smith at Photo-G-Nic
29th November 2019

KNIGHT$, ROXI DRIVE + THEO SAYERS at The Roadtrip & The Workshop

1 November 2019 /

Halloween might be the time in the liturgical year dedicated to remember the dead, but KNIGHT$ kept things alive and kicking at The Roadtrip & The Workshop in London’s Hoxton.

For James Knights, it’s been a very busy year with albums released as KNIGHT$ and with BOYTRONIC, a UK tour opening for A FLOCK OF SEAGULLS plus assorted European gigs and notable music industry figures knocking on his door, taking an interest in his progress.

Getting through setbacks such as the collapse of Pledge Music, James Knights has shown resilience and strength of character, both much needed skill sets in music. He has also maintaned a down-to-earth demeanour free of ego and delusion, the latter two characteristics now being far too normal in modern society.

But to begin proceedings was Cambridge’s Theo Sayers who released his most recent EP ‘Ado Perma’ last July. Dressed in a similar skeleton costume to the one that his younger self adorned the cover of that said EP, he presented his unusual brand of English hip-hop, like an urban Jona Lewie. Exuding humour and a sense of fun, the set also included his streetwise take on PRINCE’s ‘When Doves Cry’.

Next came the up-and-coming synthwave starlet Roxy Drive, a girl with a self-confessed crush on Ryan Gosling and a voice not far off Pat Benatar. Her debut album ‘Strangers Of The Night’ released in 2018 showed promise and tonight, she aired a number of its highlights as well as premiering some new material.

Accompanied by an electronic percussionist, among the set highlights were the energetic neon drenched first single ‘Run All Night (Chase This Dream)’ and the more recent ‘Dangerous’ from the upcoming album ‘Electric Heart’. The latter showcased a refined development of her MTV friendly sound. She certainly looked the part and her live persona can only grow stronger as she gains more live experience.

For headliner KNIGHT$, it was to be an evening of celebration of ‘Dollars & Cents’, a contender for best electronic pop album of 2019 if ever there was one. Apart from the NEW ORDER derived electronic disco drive of ‘So Cool’, the set was largely drawn from the long player.

Accompanied by the alluring presence of Nina Casey and Jasmine Brady, both on keyboards, James Knights gave yet another of his charismatic performances bursting with energy and enthusiasm.

From the Eurobeat thrust of ‘What We Leave Behind’ and the heavenly pop ‘Playin It Cool’ to the amorous ‘Gelato’ and the snappy ‘Alligator’, Knights was hitting that perfect beat, entering the audience and somehow managing to avoid getting mic feedback. Engaging the audience masterfully, Knights asked everyone who had travelled the furthest to be at the gig. At first, it looked like it was Claudia and Tiffany, both from Berlin. But the undoubted winner was Ana who had ventured all the way from New York.

The brilliant ‘Hijack My Heart’ saw Knights tightening his trousers slightly, although the ceiling was so low at the intimate club venue, it did restrain his usual mic stand swinging antics. However, a pair of covers were thrown in. While PET SHOP BOYS ‘Heart has been a regular staple of the KNIGHT$ live set, there was a supervise inclusion of ‘The Never Ending Story’, a song that has come to prominence again thanks to its inclusion in ‘Stranger Things 3’.

By his own admission “unrehearsed”, with the assistance of a lyric sheet Knights embarked on a fun if slightly shambolic duet with Roxi Drive on the Giorgio Moroder produced classic, but no-one really minded as Roxi held her own and everyone else joined in.

Ending the evening with the album title song and new single, the catchy ‘Dollars & Cents’ captured the essence of the sparkly Britalo that Knights has well and truly mastered.

What a year it has been for the Winchester lad; after years treading the boards with SCARLET SOHO and knocking on the door several times, James Knights has finally found his sound and vocation as KNIGHT$.

With a European Union flag hung at the back of the stage in defiance, KNIGHT$ is just the escapist tonic in these bizarre times and a shining example how much better things are when people are united through music and more.

KNIGHT$ ‘Dollars & Cents’ released by Specchio Uomo is available in various formats as well as the new single including remixes by ITALOCONNECTION + THE HIDDEN MAN from https://knights101.bandcamp.com/album/

http://knights101.com/

https://www.facebook.com/Knights101/

https://twitter.com/JPSKNIGHTS

https://www.instagram.com/knights101/

Roxi Drive ‘Strangers Of The Night’ is available as a download album direct from: https://roxidrive.bandcamp.com/album/strangers-of-the-night

https://www.roxidrivemusic.com/

https://www.facebook.com/RoxiDrive/

https://twitter.com/RoxiDrive

https://www.instagram.com/roxidrive/

Theo Sayers ‘Ado Perma’ EP is available as a download EP direct from https://theosayers.bandcamp.com/

https://www.facebook.com/theosayersmusic/

https://twitter.com/theosayers

https://www.instagram.com/theosayers/

Text and Photos by Chi Ming Lai
1st November 2019

CHROMATICS, DESIRE + DOUBLE MIXTE Live in London

29 October 2019 /

Photo by Roger Kamp

It may have been ‘Double Exposure’ but the Italians Do It Better triple bill at The Roundhouse in London was a conceptual artistic triumph from the bottom up.

Headlined by CHROMATICS, the line-up also included their label mates DESIRE and DOUBLE MIXTE with all three acts having the multi-instrumentalist, producer and IDIB head honcho Johnny Jewel in common. The audience entered The Roundhouse under hazes of red light with a slide show of the Italians Do It Better roster projected onto the three stage screens.

It was obvious this was not going to be any old rock and roll show. More like an arthouse cinema presentation, many of images had family members such as HEAVEN, IN MIRRORS, DOUBLE MIXTE, GLASS CANDY, KRAKÓW LOVES ADANA, JORJA CHALMERS, DESIRE and of course CHROMATICS captured in superbly designed mock movie posters, emphasising the cinematic thread running through the label. And with accompanying music from the likes of TESS ROBY and ZOLA JESUS, the artistic circle was complete.

Photo by Chi Ming Lai

Beginning the live proceedings were brooding Parisian duo DOUBLE MIXTE, coming over like a modern day Jane Birkin and Serge Gainsbourg but with a lively techno backbone.

The Gauloises flavoured film noir synergy of Clara Apolit and Thomas Maan came over in a combination of feminine Gallic prose over fat bursts of synths for a dark disco soundtrack that had decadent cool written literally all over it.

This was especially evident on their debut IDIB single ‘Romance Noire’ and the striking visuals of rotating tape reels and VU meters certainly aided the DOUBLE MIXTE presentation cause in what can only be described as an impactful opening set.

Next on stage came DESIRE, the IDIB project fronted by Megan Louise, the charismatic PVC dressed Canadian other half of Johnny Jewel. With the band featuring Johnny Jewel and CHROMATICS drummer Nat Walker with the stylish enigmatic figure of Aja, singer of HEAVEN on keyboards, the quartet fielded their distinctly danceable style of classic synthpop, as exemplified by ‘Mirroir Mirroir’, ‘Don’t Call’ and ‘If I Can’t Hold You’. Living up to Megan Louise’s more brazen persona, things got particularly saucy during an enjoyable note-for-note cover of NEW ORDER’s ‘Bizarre Love Triangle’.

Photo by Roger Kamp

Megan Louise literally got into the spirit of the song’s title and had a snog with Aja in full-view of her boyfriend on the opposite side of the stage.

Closing the DESIRE set with ‘Under Your Spell’ from the influential soundtrack to the Ryan Gosling film ‘Drive’, Megan Louise certainly warmed things up although as she departed, Aja and Johnny Jewel stared each other out in a sustained and ferocious drone duel of the Korg 700 synths.

And with that, the classic synthpop vibe did not subside with Romy Madley Croft of THE XX providing a superb DJ set of synthpop classics including tunes by YAZOO, OMD’s evergreen ‘Messages’, the Italo cult classic ‘Spacer Boy by CHARLIE and Q LAZZARUS’ ‘Goodbye Horses’, a song which appeared in the Jonathan Demme directed movies ‘Married To The Mob’ and ‘Silence Of The Lambs’.

Photo by Roger Kamp

Jewel and Walker returned to the stage with guitarist Adam Miller as CHROMATICS prepared to open their headlining set with an abridged ‘Tick Of The Clock’ before the captivating presence of the stunning Ruth Radelet entered the room for a wonderful rendition of ‘Lady’.

While there was glamour, her aura exuded a darker fatalistic quality after the provactive sass of DESIRE. ‘Kill For Love’ from the 2012 album of the same name highlighted their cross of NEW ORDER styled indie guitar pop and electronic grandeur.

While it all combined to give CHROMATICS their unique selling point, there were also doses of shoegaze derived creative distortion.

The carefully considered visuals were particularly striking with ‘Night Drive’, ‘Back From The Grave’ and ‘I Can Never Be Myself When You’re Around’ accompanied by images ranging from Korg Mono/Poly synths and blood stained guitars to speedy clocks.

Radelet’s exquisite visage would look like a Hollywood starlet one moment and then distort into an image more unsettling the next. While material from the recent stop-gap album ‘Closer To Grey’ was noticeably absent, concessions were made to newer material like the single ‘Time Rider’ released earlier in 2019.

Photo by Roger Kamp

Miller took to the mic for the lengthy electro art funk of ‘These Streets Will Never Look the Same’ before Radelet’s breathy vocal return on ‘I Want Your Love’.

The eerie ‘Cherry’ with bubbles of bright synth and treated guitar showed CHROMATICS at their best with a sinister groove to accompany Radelet’s forlorn vocal delivery, before a Neil Young cover in the shape of ‘Into The Black’ closed the main set leaving behind a suitably doom laden mood and an extended keyboard passage from Jewel.

For the encore, Radelet returned alone to give an enticing solo interpretation of Springsteen’s ‘I’m on Fire’, but for the casual fans of CHROMATICS in the audience, at last came ‘Shadow’, the ghostly wistful number that came to prominence thanks to its inclusion in ‘Twin Peaks: The Return’. However, although Radelet’s wispy vocal performance was superlative throughout, the use of guitar rather than string machine for the main melodic theme perhaps lacked the emotive chill of the studio recording.

Photo by Roger Kamp

To end the evening, a respectful rhythmic version of Kate Bush’s ‘Running Up That Hill’ gave Johnny Jewel an opportunity to fully exploit the buzzing capabilities of his Korg 700.

And as each member of the band walked off the stage in turn, Jewel was still there at the end, knob twiddling until it was obvious that it was way past curfew! Stylishly conceived and presented, many established acts could learn from how Italians Do It Better curated ‘Double Exposure’.

From the visuals to the lighting, to the outfits to the DJ and finally to the live music itself, it was like a danceable art installation. While the CHROMATICS set list wasn’t particularly ambitious and had changed little since their last London appearance in 2013, it was part of a complete experience that engaged on many levels. And with that, ELECTRICITYCLUB.CO.UK left The Roundhouse suitably entertained…

Special thanks to Frankie Davison at Stereo Sanctity

https://www.facebook.com/CHROMATICSBAND/

https://twitter.com/chromatics

https://www.instagram.com/chromaticsmusic/

https://www.facebook.com/PRIMITIVEDESIRE/

https://twitter.com/primitivedesire

https://www.instagram.com/desire_megan/

https://www.facebook.com/doublemixtemusic/

https://twitter.com/Double_Mixte_

https://italiansdoitbetter.com/

https://twitter.com/idib

https://www.instagram.com/italiansdoitbetter/

Text by Chi Ming Lai
29th October 2019

FM ATTACK + FUTURECOP! Live in London

28 October 2019 /

Outland presented an enticing synthwave double billing with Vancouver’s FM ATTACK and Manchester’s FUTURECOP! at Electrowerkz in London.

The London-based promoters have had a busy year where they undertook their most ambitious undertaking yet in Toronto during the summer featuring DANA JEAN PHOENIX, MECHA MAIKO, PARALLELS, MICHAEL OAKLEY, KALAX, TIMECOP1983 and FM ATTACK.

It was the success of FM ATTACK’s appearance at the event that led to mainman Shawn Ward’s visit to London and Dublin.

But to start proceedings in an already packed Electrowerkz was FUTURECOP! The musical vehicle of synthwave stalwart Manzur Iqbal, his most recent album ‘Voltrana’ featured the vocals of PARALLELS and COMPUTER MAGIC.

In a set more akin to a DJ styled experience and accompanied on stage by Will Cunningham on visuals, Iqbal presented pre-prepared song-based material wispily vocalised by the likes of Holly Dodson and Danz Johnson such as ‘Edge Of The Universe’, ‘We Belong’ and ‘Star’.

‘1988 Girls’ from ‘The Movie’ drew the biggest cheers while musically cut from a similar cloth, ‘Starworshipper’ showcased Iqual’s Sci-Fi mysticism.

As a show, FUTURECOP! did lack a live element, but the audience happily danced throughout and Iqbal did a good job of warming everyone up in anticipation of FM ATTACK. While there was no sign of the new NINA voiced single ‘Against the Tide’, there was a closing playback of the Giorgio Moroder-produced ‘Never Ending Story’ by Limahl, a song now being enjoyed by a new younger audience thanks to its inclusion in the final episode of ‘Stranger Things 3’.

Sporting a gold lame suit and with a Roland Juno 60 taking centre stage, Shawn Ward was grinning as he took his position to play his first London gig as FM ATTACK. With ‘Drive’ star Ryan Gosling a notable FM ATTACK admirer, Ward has concocted a unique hybrid electronic sound combining Gino Soccio and Giorgio Moroder with Italo disco, French house, new wave and post-punk.

From 2009’s ‘Dreamatic’ album although in instrumental form, the groovy electro-disco of ‘Yesterday’ opened up the gates, but the funkier ‘I Saw Her Dancing’ saw Ward delightfully take to vocoder. With some lovely synth keys and rhythmic fervour, ‘Dreamer’ kept up the neon-lit robotic pace while ‘A Million Miles Away’ added some mood to go with the dance.

Another number from ‘Dreamatic’, ‘Sleepless Nights’ did what it said on the tin, crossing arpeggios with octave lilts for an Italo flavoured romp before the comparatively recent bleep bop of ‘Little Angel’. ‘Shadows’ closed the main set with a gloriously filmic synth laden space journey, but Ward got a well-deserved encore and came back from ‘A Million Miles Away’ with a sparkling tune that was swathed in an enigmatic gothic allure, thanks to his obvious affection for THE CURE.

With regards FM ATTACK’s live presentation, Shawn Ward deserved full kudos for accepting his limitations as a one-man synth act and therefore, selecting material to suit the format. He could have so easily relied on playback to virtually recreate the presence of the numerous guest vocalists on his albums, but he chose not to and that must be applauded.

With another well-attended event under their belt, Outland are steadily building their community. Always exuding a warm friendly atmosphere, any serious synth enthusiast should pay them a visit, even if only out of curiosity.

Special thanks to Stuart McLaren at Outland

FM ATTACK ‘New World’ is released by Starfield Music in vinyl LP, cassette and digital formats, available from https://fmattack.bandcamp.com/

https://www.facebook.com/fmattackmusic/

https://twitter.com/fmattack

FUTURECOP! ‘Voltrana’ is released by New Retro Wave Records as a download album, available from https://newretrowave.bandcamp.com/album/voltrana

https://www.futurecop.info/

https://facebook.com/futurecopofficial/

https://twitter.com/futurecopx

The next Outland events feature OLLIE WRIDE at London Camden Assembly on Saturday 16th November 2019 and Glasgow Classic Grand on Friday 29th November 2019

https://www.weloveoutland.com/

https://www.facebook.com/outlandsynth/

https://twitter.com/OutlandSynth

Text and Photos by Chi Ming Lai
28th October 2019

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