Category: Live Reports (Page 9 of 36)

FIAT LUX Live at St Clements C of E Church

26 October 2019 /

Between 1982-1985, FIAT LUX released six singles which showcased their electronically assisted melancholic pop sound with a distinct dual vocal harmony and a rooted emotional centre.

The trio of Steve Wright, David P Crickmore and Ian Nelson were critically acclaimed with BBC Radio1 airplay and a notable appearance on ‘Old Grey Whistle Test’ as part of a synthesizer special alongside KRAFTWERK and Jean-Michel Jarre.

Meanwhile, FIAT LUX also opened on tours for BLANCMANGE and Howard Jones. They even had a Channel 4 TV special which later became the ‘Commercial Breakdown’ video release in 1985 but by then, the trio had disbanded under the spectre of disillusionment following the shelving of their already complete debut album by Polydor Records.

Ian Nelson sadly passed away in 2006 but interest in FIAT LUX continued through the internet with the leaking of that debut album under the title of ‘Fac Ut Vivas’. Fast forward to 2019 and it’s rather a nice time to be a FIAT LUX fan.

Not only have Steve Wright and David P Crickmore reunited as FIAT LUX, but there has finally been a debut album of all-new material ‘Saved Symmetry’. Meanwhile, that unreleased debut album has been issued by Cherry Red Records using the title ‘Ark Of Embers’ as a bonus disc with a definitive singles compilation ‘Hired History Plus’.

Churches formed part of the backdrop in ‘Commercial Breakdown’, so St Clements C of E Church in Bradford was the ideal serene setting for the first FIAT LUX concert in 35 years. Opening with the desolate filmic drama of ‘Tuesday’, multi-instrumentalist Crickmore took to the stage first on acoustic guitar.

With the song’s understated vocals holding off until nearly three minutes in to create mood and tension, Wright joined his bandmate before deputising for the late Ian Nelson, Will Howard arrived on clarinet to counterpoint the pre-programmed washes of Morricone-styled synthetic strings.

Before there was time for a breather, the incessant drum machine of ‘Feels Like Winter Again’ echoed around the church. The very first FIAT LUX single (produced by Bill Nelson, brother of Ian), its ambiguous despair and forlorn chill reflecting the trauma of young manhood was perfect for a cold rainy night in the North of England’.

From the oldest FIAT LUX single to the most recent, ‘Everyday In Heaven’ declared that getting older was actually a positive with up-for-life lyrics about embracing second chances. Following on, the gorgeously evocative ‘Photography’ looked back with photos of the original projected as a backdrop with Howard doing a superb job of emulating his talented predecessor.

The progressive ‘Hold Me While You Can’ showed how FIAT LUX are still not afraid to merge contrasting musical templates with a steady build from piano and woodwinds suddenly turning into TUBEWAY ARMY’s ‘We Have A Technical’.

‘The Moment’ from ‘Ark Of Embers’ mellowed proceedings with the solemn air of Scott Walker before ‘We Can Change The World’ made a call to action in a lively uptempo manner like BLACK meeting CHINA CRISIS. At this point after an understandably nervous start, Wright began to loosen up with some dancing and flashes of those animated arm movements that characterised his appearance on ‘Old Grey Whistle Test’ all those many years ago.

Meanwhile, moving between acoustic and electric guitar, bass and Roland Jupiter 50, Crickmore performed like he had never been away from FIAT LUX, his facial expressions unable to hide his bouncing delight at being able to perform these wonderful songs to an appreciative audience.

Described by their producer Hugh Jones as the slowest song he had ever recorded, ‘Embers’ recalled PINK FLOYD’s ‘Wish You Were Here’ to gently subside the mood, but well-positioned to provide another rhythmic lift was ‘It’s You’; the first new FIAT LUX song for 33 years at the time of its release in 2018, it lyric about finding love again in midlife was a sentiment that many present could totally relate to.

The elegiac cinematics of ‘Calling On Angels’ allowed for another moment of musical contemplation with more superb sax playing from Will Howard, until it was time for the brilliant widescreen synthpop of ‘Solitary Lovers’, a tune that was effectively the last FIAT LUX song until 2018.

On the home straight, ‘Splurge’ offered some enjoyably screechy gothic disco with Crickmore playing the guitar hero, until the main set closed with the magnificent ‘Blue Emotion’, a song that really should have been a huge hit in 1984.

Reflecting the gung-ho zeitgeist of the times, its stark observations were now more than relevant in today’s unpleasant political climate. Returning for a well-deserved encore, it had to be the haunting ‘Secrets’.

A 1983 single which highlighted the deeper introspection that set FIAT LUX apart from many of their contemporaries, it has over the years become their signature song, as signified by the 2017 re-recording that heralded a tentative return.

However, it took a few false starts but once Wright got through the first verse, there was an almighty cheer from the audience and smiles from the band, probably through a sense of relief that this first FIAT LUX show for three and a half decades was finally now done and dusted. A fabulous evening exuding charm and warmth, Wright was in fine voice and ably supported by Crickmore, while Will Howard played the perfect tribute to Ian Nelson.

It was a largely flawless display of old and new angst and affection that proved how FIAT LUX were criminally overlooked back in the day. But now is the perfect time for them to get some well-deserved recognition. With a vinyl LP release of ‘Ark Of Embers’ on the way, FIAT LUX are indeed back-back-BACK!

Yes, it was well worth the 35 year wait!

‘Saved Symmetry’ is released by Splid Records through Proper Music Distribution, available in CD and digital formats from https://www.propermusic.com/splidcd21-saved-symmetry.html

‘Hired History Plus’ is released by Cherry Red Records in double CD and digital formats featuring ‘Ark Of Embers’, available from https://www.cherryred.co.uk/product/fiat-lux-hired-history-plus-2cd-expanded-edition/

‘Ark Of Embers’ gets a standalone vinyl LP release on 15th November 2019 via Splid Records

http://www.fiat-lux.co.uk

https://www.facebook.com/Fiatluxofficial

https://twitter.com/fiatluxofficial

https://open.spotify.com/artist/2GGpvPlY3LVxXSvYuOUUqL

Text and Photos by Chi Ming Lai
26th October 2019

LUSTANS LAKEJER + PAGE Live in Malmö

4 October 2019 /

Two of Sweden’s best loved acts of a more synthy disposition LUSTANS LAKEJER and PAGE gathered together at Malmö’s Babel for a celebration of classic songs and artistic progression.

Located in the shell of an old brick-built church, while Babel’s soundsystem and views of the stage were superb, its tedious entrance infrastructure left a lot to be desired as a large number of music fans were still left queuing in the rain as the evening’s music proceedings began.

PAGE released their first single ‘Dansande Man’ in 1983 and while line-ups have varied over the decades, the duo of Eddie Bengtsson and Marina Schiptjenko is universally seen as the classic incarnation. But while Bengtsson has often been considered Sweden’s answer to Vince Clarke, more recently he has been re-exploring the post-punk synth innovations of TUBEWAY ARMY and ULTRAVOX.

2017’s ‘Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut’ even featured a cover of ‘Tracks’, but it was 2018’s ‘Start’ EP and the new album ‘Fakta För Alla’ that saw PAGE totally get into the Moog.

And it was to a smoke machine on overdrive that Bengtsson and Schiptjenko arrived on stage for a lively poptronica set mined mainly from those three recent releases.

‘Krasch’ and the ‘Fakta För Alla’ title song set the scene and armed with a Little Phatty and Sub 37 respectively, Bengtsson and Schiptjenko indulged in a spot of delightful Moog wars with oscillators set to stun. ‘Kloner’ and ‘Start’ continued the riff laden pleasure of principle while with washes of string machine and piercing vibrato, ‘Blöder Du’ came over more introspective.

‘Som ett skal’ from 2014’s ‘Hemma’ and ‘Kom så andas vi’ from the 2010 comeback record ‘Nu’ illustrated PAGE’s enduring knack for a good synth tune, while the more recent ‘Första Smällen’ provided some spritely poptronica to continue that tradition

But when Bengtsson went to reimagine Gary Numan meeting Billy Currie on ‘Puls’ with his Sub Phatty on an ARP Odyssey aping setting, the keyboard was just slightly too off-tune to continue playing it.

Despite playing only 21st Century PAGE material, the duo finally conceded with an oldie in ‘Förlåt’ from 1995, its space march chants drawing participation and appreciation from the audience to close their set.

Although PAGE’s set attracted a good attendance despite the delays of getting into the venue, it began to pack considerably as the pre-show music offered the likes of VISAGE, DEPECHE MODE and THE HUMAN LEAGUE, with the crowd comprising of old and new romantics, the presence of young Lustans Lookalikes being very much in evidence.

While Johan Kinde is the only founder member of LUSTANS LAKEJER, he was accompanied by drummer Christer Hellman who played on their gold third long player ‘En plats i solen’ produced by Richard Barbieri of JAPAN.

Meanwhile, there was also long standing sidemen bassist Julian Brandt and Anders Ericson on guitar, plus keyboardist Tom Wolgers who joined in 1981 for their second album ‘Uppdrag i Genève’ and took the band in a more electronic direction, before returning the fold in 1999.

The mature quintet were augmented by two younger keyboard players Fredrik Hermansson and Lisa Lindal, the latter also providing some sumptuous backing vocals. Tonight’s set was to celebrate the 20th Anniversary of ‘Åkersberga’, LUSTANS LAKEJER’s comeback album which saw Kinde adopt a more crooner friendly, laid back demeanour.

Opening song ‘En kvinnokarls död’ evoked the cinematic moods of a Nordic Noir drama, while the brilliant ‘Cynisk’ realised Kinde’s concept of what Barry White would sound like reinterpreting ‘Walking In My Shoes’ by DEPECHE MODE, complete with guitar solo.

The epically orchestrated ‘För njutningen, för spänningen’ captivated with its chanson influences. But spicing up the tempo, ‘Vackra Djur Gör Fula Saker’ pulsed like ULTRAVOX in recognition of the classic unga moderna template which made LUSTANS LAKEJER’s one of the most popular bands in Sweden. ‘Här & Nu’ played with stylish Svenka reggae with Julian Brandt particularly starring, but the rhythmic ‘Som en dröm’ brought in a Mediterranean tinged dance flavour which set the hearts racing.

Meanwhile, indulging in some Scott Walker fantasies and referencing the mannerisms of ‘Deadlier Than The Male’, detuned synth arpeggios provided an interesting avant counterpoint to Kinde’s smoother vocal overtones on ‘Begär har förgiftat mitt blod’.

The Latin template returned for the bossa nova driven ‘En natt som denna natt’ before closing the ‘Åkersberga’ segment of the set with the filmic ballad ‘Samma gamla sång’. The Babel had no backstage area as such, so rather than trudge through the audience and return again for the encore routine, LUSTANS LAKEJER retained their positions for a performance of old favourites.

‘En Främlings Ögon’ from ‘En Plats I Solen’ exuded its JAPAN influence with its ring modulated synths and Hellman’s distinctive Simmons drum mantra, while the superb sequencer driven ‘Diamanter’ partied like it was 1982, drawing one of the biggest cheers and the first audience singalong of its evening.

Kinde even threw in a few of his old New Romantic arm sways and in an amusing S&M bromance with Anders Ericson, percussively whipped him to a frenzy! A new synth dominated song ‘Svarta segel’ got its live premiere and with its dark lyrical gist, reflected on the current madness in world politics. Launching with the distinctive clatter of a Compurythm, ‘Stilla nätter’ allowed Kinde to revisit his earlier Sylvian-Le Bon cross.

Meanwhile from the same ‘Uppdrag I Genève’ long player, the more frantic electro ‘Män av skugga’ amusingly came over a bit like finding Jona Lewie having a party in Ikea. Finishing the evening with the marvellous syncopated disco of ‘Rendez-Vous I Rio’, it was a reminder as to how LUSTANS LAKEJER laid claim to releasing a song referencing Brazil’s second-most populous municipality before DURAN DURAN.

In all, it was a glorious evening featuring the best in classic Swedish pop as influenced by Synth Britannia, rich in hooks, tunes, melodies and mood without the need for a translator; tack tack! ???

LUSTANS LAKEJER ‘Åkersberga’ is reissued as a vinyl LP, available via their Facebook page

https://www.facebook.com/LustansLakejer/

https://www.instagram.com/lustanslakejerofficial/

https://open.spotify.com/artist/3oB3e3MPyQBX5NttDmNUNN

PAGE ‘Fakta För Alla’ is released by Energy Rekords as a CD and vinyl LP, available from https://hotstuff.se/page/x-7640

https://www.facebook.com/PageElektroniskPop

https://www.instagram.com/page_svensk_pop/

https://open.spotify.com/album/6LvrfFcS2FXlRiQBrRtpvp?si=4rkmExzsQ_ecq0MaSNUp_Q

Text by Chi Ming Lai
Page Photos by Simon Helm
Lustans Lakejer Photos by Petter Duvander
4th October 2019

IMI Live at The Finsbury

18 September 2019 /


Leeds based singer / songwriter IMI has made a fine impression in 2019 as one of the most promising new synth acts of the year.

Blessed with a glorious soprano in the vein of striking vocalists like Alison Goldfrapp and Tara Busch, what has also stood out is the widescreen aesthetic of her music with sharp electronic melodies and inventive arrangements.

Having previously been a member of a Goth band, classically trained IMI’s ears were drawn to her parents’ record collection; her father, a veteran of the New Romantic campaign had naturally been a fan of VISAGE so it was fitting when Rusty Egan started playing her music on his radio show.

IMI made a rare live appearance in London at The Finsbury to showcase her intelligent avant pop. Opening with ‘The Fence’ from her recent ‘Lines’ EP, a programmed warbling drop of vintage bass synth and a metronomic rhythm construction was the backdrop for an almost folky vocal before a percussive build to usher in the clouds and the darkness with a beautiful crescendo.

Two still-to-be-released songs ‘Monolith’ and ‘Pin Me Down’ demonstrated IMI’s previous flirtation with the gothique while encapsulating the filmic ambition of GOLDFRAPP circa ‘Felt Mountain’ and its delightful oddness.

On stage, IMI took up different personas in the live presentation of her songs, from serious synth girl to serene pop princess, but the rousing melodic call of ‘I Feel Alright’ saw her enter I SPEAK MACHINE mode.

With the dramatic combination of her magnificent live vocals and sampled ethereal voices while sternly facing her Moog Sub Phatty, proceedings became more sinister but strangely captivating as her delivery emotively conveyed the parradox of the song’s title in a barrage of squelch and rigid beats.

Closing the short set with the mighty triplet infused operatic statement of ‘Margins’, IMI’s musicality allowed her to cross trip hop and Synth Britannia without anyone noticing the join, before a piercing cry on the caesura.

A largely mesmerising solo performance, IMI did well to get round some minor technical difficulties. As she increases in confidence and maturity, she will only get better.

For the moment, she is a highly promising songstress with lashes of talent and a focussed esoteric mindset that will hopefully lead to more artful adventures for all to savour. IMI is undoubtedly one of the keys to a sustainable synthy future.

The ‘Lines’ EP is released by Bibliotek, available as a CD or download direct from https://imimusicuk.bandcamp.com/album/lines

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

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

https://open.spotify.com/artist/0GKGK6KIlrmJM4C4UJGMJI

Text by Chi Ming Lai
Photos by Simon Helm
18th September 2019

APOPTYGMA BERZERK, THE INVINCIBLE SPIRIT + VILE ELECTRODES Live In Cologne

22 August 2019 /

An electric line-up was gathered at Cologne’s Essigfabrik covering various mutations of synthesizer driven music as part of APOPTYGMA BERZERK’s 2019 European tour. 

Also featuring THE INVINCIBLE SPIRIT + VILE ELECTRODES, when APOPTYGMA BERZERK mainman Stephan Groth spoke to ELECTRICITYCLUB.CO.UK earlier in the year, he explained: “It’s very important to have a whole evening that makes sense and which will tell a story.”

That story began with British South Coast duo VILE ELECTRODES. New favourite artists of Stephan Groth’s, Anais Neon and Martin Swan have rarely ventured out live in the last two years, but the opportunity to reach a new audience familiar with the darker vein of electronics was not to be missed.

Using a portable Eurorack set-up which was still quite hefty in comparison to other live acts and almost obscuring the diminutive Swan, there was also a tiny Yamaha Reface and compact Arturia MicroBrute included in the Viles armoury. As well as familiar tunes such as a reworking of ‘Empire of Wolves’ and ‘Proximity’, there was also ‘Red Bead’ and ‘Incision’ from the epic if bleak second album ‘In The Shadows Of Monuments’.

Meanwhile, there was new material in the shape of two modular derived songs ‘We Are A Prism’ and ‘The Kill The Cure’. It hinted that for VILE ELECTRODES at least, their future is perhaps not yet so bright that they’ve got to wear shades. Closing with the arpeggio-laden ‘Re-Emerge’, its frantic synthesized throb warmed up the steadily building throng at Essigfabrik.

In the vein of DAF and DIE KRUPPS but with a tighter electronic backbone, EBM veterans THE INVINCIBLE SPIRIT produced the sort of alternative club music that would have been popular at The Jolly Joker in Braunschweig and the like. The project of Thomas Lüdke, the debut album ‘Current News’ became a cult favourite after its release in 1987 on ZYX Records with tracks like ‘Make A Device’ and ‘Push!’

Accompanied by Anja Vorel on synths, the towering presence of Lüdke loomed over the audience as they became captivated by the energetic body of ‘Irregular Times’. But the powertrain entered a new gear with the magnificent of ‘Hate You’, the lead single from the 2015 comeback album ‘Anyway’.

Such frenzy could only be followed by the Teutonic tension of ‘Push!’, a mighty statement that other acts now try desperately attempt to imitate, but who inevitably fall at the first fence. A great new number ‘Coming Home’ kept up the pace and the action, but there was the surprising inclusion of JOY DIVISION’s ‘Atmosphere’ as an uptempo cover to end, which worked well in the former factory complex that forms Essigfabrik.

As the crowd squeezed up to the barrier in anticipation of APOPTYGMA BERZERK, what was noticeable that save three or four goth boys of varying ages, the entire front row was female. First on stage was cheerleading keyboardist Jonas Groth, while sticksman Ted Skogman quietly followed over to the drum stool.

As the electronic pulse of ‘Weight Of The World’ began and the younger Groth vocodered “pleased to meet you”, guitarist Audun ‘Angel’ Stengel joined his bandmates before wearing a leather jacket with “YAZOO” emblazoned on the back, Stephan Groth ran to greet his excited fanbase. The industrial pop of ‘Unicorn’ continued the adrenaline rush and prompted chorus singalongs, before moving towards the anthemic rock overtones of ‘In This Together’.

Over the years, Stephan Groth has straddled EBM, synthpop, futurepop, alternative rock and more recently instrumentals with APOPTYGMA BERZERK, and the upcoming EP ‘Nein Danke!’ sees a return to the synthpop format.

From it, the excellent ‘Atom & Eve’ with its mechanised rhythms saw drummer Ted Skogman leave his kit to assist on backing vocals. As the evening continued and other drum machine led tracks were performed.

For another terrific ‘Nein Danke!’ number called ‘A Battle For The Crown’ and material from Groth’s FAIRLIGHT CHILDREN synth side-project, Skogman simply walked off the stage as the songs did not need the interference of live drums. It begs the question as to why Christian Eigner can’t voluntarily disappear for half of DEPECHE MODE’s concert set for the sake of authentic art?

With smoke machines on overdrive and huge blocks of flashing lights from across the spectrum set to stun, this was a dense display of visuals that worked well in extremes. Presenting all aspects of the APOP catalogue, the 1997 vintage ‘Love Never Dies’ revisited Groth’s grandiose futurepop adventures while from the same ‘7’ album, ‘Deep Red’ kept the body strong with Angel adding power via his chunky flanged guitar, mutating into metal when necessary.

‘Stitch’ from debut album ‘Soli Deo Gloria’ took the form of respite as Groth performed totally alone in a moody whispered Numan-esque manner, before ‘Dead Air Einz’ saw the band return for some steadfast Schaffel.

No stranger to the cover versions, Groth’s choices have been eclectic to say the least, ranging from Kim Wilde to THE CURE and METALLICA with OMD, Peter Schilling and KRAFTWERK caught some place in between. APOPTYGMA BERZERK’s cover of THE HOUSE OF LOVE’s ‘Shine On’ was a German hit in 2006 so when its familiar riff revealed itself, the crowd indulged in a spot of goth dancing.

Aesthetically akin to THE KILLERS, the energetic ‘Asleep or Awake’ which followed most definitely kept them all awake. Off ‘Welcome To Earth’, the gothic rave of ‘Kathy’s Song’ with its call-and-response interplay between the Groth brothers maximised audience involvement, even during Kathy Macintosh’s Mac OS voice centrepiece.

One thing about Stephen Groth is that he is humble gentleman who is free of ego, so it was a touching moment for him to leave brother Jonas on stage to perform ‘Nearest’; an update of ‘Near’ from ‘7’, this has been the younger Groth’s lead party piece for the last two years at APOP shows and is due for inclusion on the Nein Danke!’ EP.

Opting for the OK MINUS remix, the dark vibrant electro of ‘Eclipse’ maintained the smiles and rave friendly atmosphere. However, best of all was the superb JEAN-MICHEL JARRE meets SIMPLE MINDS trance rock fusion of ‘Until The End Of The World’ from 2002’s ‘Harmonizer’ to complete the main set; prompting a massed hands in the air moment, Stephan Groth even threw in a few Jim Kerr mannerisms during this slice of euphoric dystopia!

The appreciative crowd didn’t have to wait long for an encore, and they were rewarded with a long one, beginning with an extended ‘Starsign’ and an electro-rock cover of METALLICA’s ‘Fade to Black’. Onto the home straight, it was now time to party like it was 1993 with two final songs from ‘Soli Deo Gloria’.

Styled around the sweaty new SUBSTAAT treatment, ‘Bitch’ provided some aggressive enthralment while Stephan Groth ended the night by paying tribute to the influence of THE INVINCIBLE SPIRIT on APOP and asked Thomas Lüdke to join him onstage for a redux duet of ‘Backdraft’.

Generous in spirit, as Stephen Groth took the curtain call with his band, he beckoned VILE ELECTRODES to join the ensemble on stage to accept the roaring approval of those all gathered at Essigfabrik.

Those hoping for a rendition of ‘Burning Heretic’ would have been slightly disappointed but overall, it was an exhilarating live presentation with superb sound quality providing a fine balance of power and clarity for all three acts.

Small in stature but big in stage presence, as Stephen Groth once said: “Take the red pill and join our ranks, the truth has its rewards!”

ELECTRICITYCLUB.CO.UK gives its special thanks to Per Aksel Lundgreen

APOPTYGMA BERZERK + VILE ELECTRODES play Oslo Parkteatret on Saturday 24th August 2019

http://www.theapboffice.com/

https://www.facebook.com/ApoptygmaBerzerk/

https://www.the-invincible-spirit.de/

https://www.facebook.com/InvincibleSpiritOriginal/

http://www.vileelectrodes.com/

https://www.facebook.com/vileelectrodes/

Text by Chi Ming Lai
Photos by Grit Cheraka and Chi Ming Lai
22nd August 2019

A FLOCK OF SEAGULLS + KNIGHT$ Live in London

20 July 2019 /

Photo by Simon Helm

Out of the bands that emerged post-Synth Britannia, A FLOCK OF SEAGULLS were among those to actually make a worldwide cultural impact, initially gaining traction in the US via the cable phenomenon of MTV.

While frontman Mike Score’s outlandish hair style was honoured in Hollywood with comic references in ‘Friends’, ‘The Wedding Singer’ and ‘Pulp Fiction’, their fourth single ‘I Ran’ has been a ubiquitous staple, appearing in commercials for Grand Theft Auto Vice City, Sensationail, Diet Pepsi and Lexus. Greek synth duo MARSHEAUX even borrowed the main riff from ‘Space Age Love Song’ for their signature tune ‘Dream Of A Disco’.

Today, Mike Score is the only remaining member from the original line-up which included his brother Ali on drums, bassist Frank Maudsley and guitarist Paul Reynolds. Notably his hair is now absent, while his scouse accent has mutated into a Trans-Atlantic drawl from years of living stateside.

Dingwalls in Camden was packed for the second London date of A FLOCK OF SEAGULLS’ first headlining UK tour for many years and opening proceedings was KNIGHT$ whose debut album ‘Dollars & Cents’ has been one of the contenders for best album of 2019.

Photo by Richard Price

Fronted by the suave and charismatic James Knights, dressed in a black leather jacket and sequined shirt combo, he began support set with Eurobeat thrust of ‘What We Leave Behind’ and the heavenly pop ‘Playin It Cool’.

Playing the role of the perfect beat boy, Knights was slightly restrained physically, thanks to the small stage, but he made every effort to engage the audience with his brand of BRONSKI BEAT inspired Britalo like the amorous ‘Gelato’.

Meanwhile, the snappy ‘Alligator’ provided an amusing observation on the phenomenon of one-sided conversations. ‘Julia’ offered a more romantic take on the appealing KNIGHT$ sound while presenting a token of musical friendship to the audience, there was an authentic rendition of PET SHOP BOYS’ ‘Heart’. The slinky ‘What’s Your Poison?’ appropriately threw in some sunset sax at the riverside venue, before the catchy ‘Dollars & Cents’ closed an impressive warm-up on an already hot Saturday evening.

Standing behind a Roland Fantom 06 outputting crystal clear electronic sounds, Mike Score took his position to begin A FLOCK OF SEAGULLS’ performance with the vintage Sci-Fi rock of ‘Modern Love Is Automatic’. Backed by his usual North American band of guitarist Gordon Deppe from Canadian New Wavers SPOONS, drummer Kevin Rankin and bass player Patrick Villalpando, the debut album opener was followed by ‘Hearts On Fire’ from 1995’s ‘The Light At the End Of The World’ which had the classic air of ‘Space Age Love Song’ about it.

Photo by Roger Kamp

With a rockier growl to his vocal presence, the gothic gloom of ‘Nightmares’ came over more like THE CURE, but the darkness turned to light as the under-rated ‘The More You Live, The More You Love’ provided the first rousing moment of the evening for the mature audience.

The moody ‘Man Made’ and more Motorik ‘She Won’t Let You Down’ showcased varied aspects of the band beyond their singles, but 1983’s UK Top 40 hit ‘Transfer Affection’ was spoiled by some unnecessary bombast and Score being unsure of what octave to sing the tune in.

However, a magnificent rendition of that paean to neu romance ‘Space Age Love Song’ snatched victory from the jaws of defeat, aided by Rankin’s use of a synth drum and his bandmates’ triple call-and-response vocal, while Deppe ably reproduced the textures of original guitarist Paul Reynolds.

Photo by Richard Price

That said though, it all got awry again with the quartet going all SIMPLE MINDS with a prolonged reinterpretation of ‘Telecommunication’; the song was originally two and a half minutes for a reason!

Throughout the show, while Score did speak to the audience, it was the more flamboyant Villalpando who acted as Master Of Ceremonies with a loud “rawk” address that although probably endearing across the water, may well have been anathema for British audiences.

‘Wishing (If I Had a Photograph of You)’ was the moment many were waiting for. A Top 10 UK hit in 1982, it was interesting to be reminded that most of the song’s hooks were instrumental rather than vocal while inspired by a photo of two people running from a UFO, the brilliance of ‘I Ran’ ended the main set.

Photo by Simon Helm

There was room for an encore and that came with the pleasant surprise of ‘Messages’ from the self-titled debut album, with its more guitar driven dynamics enabling the quartet to fire on all cylinders. There was no ‘D.N.A.’ or ‘(It’s Not Me) Talking’ but on the whole, the crowd were entertained and satisfied.

When things were good, it was glorious at Dingwalls and while some may only remember the iconic haircut rather than the music, what A FLOCK OF SEAGULLS have proven is they have a number of great songs which more than stand up in the 21st Century.

And unlike say OMD, DEPECHE MODE and SIMPLE MINDS, they also have a Grammy Award on the mantelpiece. A FLOCK OF SEAGULLS more than deserve their place in British pop history.

With thanks to Debora at London Variety

A FLOCK OF SEAGULLS ‘Inflight (The Extended Essentials)’ is released by August Day Recordings in various formats available from http://www.augustday.net/aday054.html

http://www.mikescore.com/

http://www.aflockofseagulls.org

https://www.facebook.com/AFlockOfSeagullsOfficial/

https://twitter.com/REALSEAGULLS

KNIGHT$ ‘Dollars & Cents’ is released by Specchio Uomo in various formats, available from https://knights101.bandcamp.com/album/dollars-cents-lp

http://knights101.com/

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

https://twitter.com/JPSKNIGHTS

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

Text by Chi Ming Lai
20th July 2019

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