Category: Reviews (Page 1 of 200)

JULEE CRUISE Fall – Float – Love (Works 1989-1993)

One sadly poignant note about the new Cherry Red double set ‘Fall – Float – Love (Works 1989-1993)’ is that its three main protagonists Julee Cruise, Angelo Badalamenti and David Lynch are no longer with us.

Compiling her first two albums ‘Floating Into The Night’ and ‘The Voice Of Love’ with bonus edits, remixes, a demo and a cover version, the young Julee Cruise had moved to New York to make her fortune in acting and singing. A theatre workshop produced by Badalamenti brought her to the attention of the Brooklyn-born composer who had just begun working with David Lynch; the director himself had just come off the success of his 1984 film adaptation Frank Herbert’s ‘Dune’.

Working on his new noir drama ‘Blue Velvet’, Lynch had wanted to use THIS MORTAL COIL’s cover of ‘Song To The Siren’ for a key scene but the asking price was beyond the allocated soundtrack budget. He suggested that Badalamenti write a song in a similar otherworldly style featuring a suitably haunting female vocalist. Badalamenti recommended Cruise, the track became ‘Mysteries of Love’ and the rest is history.

Having been schooled in a more theatrical style, Cruise had taken time to adapt her vocals to suit Badalamenti’s mood pieces and Lynch’s stream of consciousness lyrics while also accepting the heavy use of digital reverb on her voice. The three way creative relationship continued to produce music for Lynch’s cult TV series ‘Twin Peaks’ and Julee Cruise’s debut album ‘Floating Into The Night’ released in Autumn 1989; with its shimmering glacial perfection, it has since been acknowledged as a key album in the development of dream pop.

Although using conventional instrumentation like guitars, sax and brushed percussion highlighting Badalamenti’s jazz background, ‘Floating Into The Night’ was characterised by his Fender Rhodes electric piano with synthesised and sampled textures coming from a range of equipment including the Roland D550, Roland MKS70, Yamaha DX7, Akai S1000, Emulator II and Linn 9000, often played by Kinny Landrum.

The iconic ‘Falling’ as the vocal version of the ‘Twin Peaks’ theme needs no introduction in its crystalline moods and twangy Duane Eddy influences samples, but ‘Floating Into The Night’ began with ‘Floating’ which as title suggested, was a gorgeous slice of wispy avant swing that set the scene for an outstanding album. A more minimal cousin to ‘Falling’, ‘I Remember’ maintained the standard with an unexpected shuffle dropped in to throw off the scent; the airy mood recalled 1961’s Phil Spector produced ‘I Love How You Love Me’ by THE PARIS SISTERS which itself would later appear in ‘Twin Peaks: The Return’.

Although melancholic, ‘Floating Into The Night’ was no doom fest but with its gently swinging backbeat, ‘Rockin’ Back Inside My Heart’ provided a spritely uplift to proceedings. Following it, ‘Mysteries Of Love’ stands up nearly 40 years on as a bonafide classic that has since been covered by Claudia Brücken, Kid Moxie and ionnalee. Shaped by Fender Rhodes and slowly sweeping synths, ‘Into The Night’ was another fine lesson in minimal atmospheres from the ‘Twin Peaks’ universe while ‘I Float Alone’ provided a variation on the ’Floating’ theme at a more funereal pace.

Another song from ‘Twin Peaks’, the rich arrangement for ‘The Nightingale’ was laden with all the Badalamenti signatures of gentle melodies and delightful oddness. But ‘The Swan’ was bare and exposed with off key twists in the most minimal accompaniments while ‘The World Spins’ presented a beautifully orchestrated closer to the Lynchian drama with the sounds from ‘Falling’ all reprised in the dreamy waltz along.

After the cancellation of ‘Twin Peaks’, Lynch made a prequel spin-off movie ‘Fire Walk With Me’ in 1992 and with it came soundtrack contributions, some of which became songs for Julee Cruise’s second album ‘The Voice Of Love’ released in 1993. Although conceived as a companion to ‘Floating Into The Night’, this sophomore offering was less immediate and much hazier with an emphasis on mood. Instrumentally it was more organic than its predecessor, with bass guitar from Reggie Hamilton acoustic string bass from Buster Williams adding components that had not been present on ‘Floating Into The Night’.

Opening the album, ‘This Is Our Night’ sprang a surprise with an unexpected reggae inflection. ‘Movin’ In On You’ hypnotised in its repeated vocal phrasing but inspired by the Wim Wenders film that the trio contributed a cover of ‘Summer Kisses, Winter Tears’ to, ‘Until The End Of The World’ offered an exercise in elegance despite the metallic rhythm.

However, the eerie avant jazz of ‘Up In Flames’ proved challenging while the swinging piano-led moods of ‘Kool Kat Walk’ outstayed its welcome. And although ‘In My Other World’ played with a looser feel and hints of dysfunctional Americana, it lacked structure. The album was put back on track with ‘She Would Die For Love’, the vocal version of the ‘Fire Walk With Me’ theme and ‘Questions In A World Of Blue’, a song that would be the zenith of the Cruise / Badalamenti / Lynch axis when performed by her as herself in the film.

The soothing piano title song provided the formal ending to ‘The Voice Of Love’ but part of this set’s appendix, the gorgeous Elvis cover ‘Summer Kisses, Winter Tears’ recorded for the ‘Until The End Of The World’ soundtrack perhaps highlighted that while ‘The Voice Of Love’ was swathed in the aural wash of its predecessor, it lacked the accessibility that the songs on ‘Floating Into The Night’ had. But maybe ‘Floating Into The Night’ was just too tough an act to follow?

Whatever, ‘Fall – Float – Love’ gathers some fine music and in ‘Floating Into The Night’, a masterpiece in its not easily defined and yet instantly recognisable aesthetic. While originating from an arthouse cinematic headspace, the key is this music stands up without having to view any of the David Lynch filmography, conjuring images in an individual’s own mind from simply listening.

Wherever they are now, Julee Cruise, Angelo Badalamenti and David Lynch are together making positive vibrations again.


In memory of Julee Cruise, Angelo Badalamenti and David Lynch

‘Fall – Float – Love (Works 1989-1993)’ is released as a 2CD set by Cherry Red Records on 18th April 2025, further information at https://www.cherryred.co.uk/julee-cruise-fall-float-love-works-1989-1993-2cd-gatefold-digisleeve


Text by Chi Ming Lai
16th April 2025

UNIFY SEPARATE Heavy Meta EP

With a backstory in Scottish indie and Swedish synth, UNIFY SEPARATE have always been a bit different and continue their development following two acclaimed albums ‘First Contact’ and ‘Music Since Tomorrow’.

To cut a long story short, Andrew Montgomery was the front man of GENEVA who were Nude Records label mates to SUEDE while Leo Josefsson is something of a Stockholm synth veteran as a member of LOWE and STATEMACHINE. A 2023 tour opening for German darkwave act DIARY OF DREAMS exposed UNIFY SEPARATE to a new audience and opened up more aesthetic possibilities.

A lot has happened in the world these past few years and the premise of the new ‘Heavy Meta’ EP is to build on the duo’s majestic sense of drama with a deeper and harder sound. This has been achieved with the rousing opener ‘Dark Heaven’ where the bass drum has got some almighty thump. Also thrown in are the ringing metallics of ‘Music For The Masses’ era DEPECHE MODE, the percolating synthbass of ULTRAVOX ‘The Thin Wall’ and even THE SMASHING PUMPKINS when they went briefly electropop on ‘Cyr’.

In a deep swoop of musical styles, the superb ‘DETOX’ initially enters stuttering techno territory, but things are turned on their head with Montgomery’s raw choirboy delivery lifting the tune over a switch to straight fours while the surprise of Josefsson’s distorted vocal cameo leads to a classic Scandi middle eight.

Stark expletive-laden commentary on the phenomenon of psychological manipulation, ‘Gaslighted’ captures its toll on a frustrated Montgomery over a backdrop of throbbing bass, sparkling arpeggios and textural six string with the final declaration that “your problem IS YOU!”

The influence of German IDM trio MODERAT takes hold on the building anguished dance stomper ‘Excuses Excuses’ where “when you try to make everyone happy, someone will get hurt”. Making a fine EP closer, ‘Return To Exile’ drops down to something much starker to recall the emotive ballad ‘Glassy Eyes’ by KITE whose soaring vocal melodies have much in in common with UNIFY SEPARATE.

In an increasingly dystopian world where the two biggest nuclear nations are being led by unhinged egomaniacs, UNIFY SEPARATE have provided their “sanity clause” as they confront an existential crisis that is more than about midlife in the ‘Heavy Meta’ EP, the crowd at this year’s prestigious Amphi Festival in Cologne are going to love it when they perform there in this summer.


‘Heavy Meta’ is released on 11th April 2025 as a digital EP, available direct from https://unifyseparate.bandcamp.com/music

https://www.unifyseparate.com/

https://www.facebook.com/usmusicspace

http://www.instagram.com/unify_separate

https://open.spotify.com/artist/0h9f9Dz3aVBP41aEF3GDON


Text by Chi Ming Lai
9th April 2025

DESIRE Games People Play

It took 13 years for DESIRE to follow-up their acclaimed self-titled debut album with ‘Escape’ but it’s taken just under 3 years for ‘Games People Play’ to emerge containing “twenty love songs for your dreams…”

Led by Megan Louise with Johnny Jewel at her side in the production seat, DESIRE are now very much the highest profile of act on Italians Do It Better and seemingly on an endless world tour. Unfolding like a game of chess with Megan Louise as the latex-clad queen, fate as the dealer and love as the wager, the shadowy premise of ‘Games People Play’ is “Checkmate is inevitable – but who will make the final move?”

Opener ‘Darkside’ offers the classic dreamy side of DESIRE while the enigmatic ‘Russian Roulette’ is an eerie ivory laden spoken word en Français. Flutey and French, ‘Réflexion Sous La Pluie’ allures as a vibey ballad that sits well alongside the atmospheres of ‘Demons In The Rain’.

On the other side of the coin, ‘Human Nature’ is danceable pop DESIRE with ‘Vampire’ providing a Germanic flavour while borrowing the synth line of ‘The Boys Of Summer’. Popwave and techno make their presence felt on ‘Dangerous Drug’ and ‘Dream Girl’ respectively.

A frequent purveyor of cover versions, DESIRE’s take on ‘Tell It To My Heart’ is elegantly nocturnal, as is the gentle self-penned ‘I Know’ which concludes with a particularly spicy arpeggiated twist. There’s a sharp cascading synth instrumental in ‘Sometimes’ but ‘The Judge’ is artful and alluring with an enticing percussive backdrop while ‘Love Races On’ is an airy slice of electronic pop.

The arpeggio laden bounce of ‘Cold As Ice’ is not a cover of the near-namesake Italian disco number by Grant Miller but throws in orchestral stabs while Italo house stomper ‘Drama Queen’ comes with a Madonna ‘Vogue’ type rap.

It would be fair to say in its second half, ‘Games People Play’ is particularly moody with Johnny Jewel providing a fitting cinematic backdrop with Megan Louise resigned to the way the chess game is playing out.

Maybe there is too much to take in and while the styles are varied, all types of DESIRE are represented. There is something for everyone so if in doubt, compile a playlist to suit your own DESIRE.


‘Games People Play’ is released by Italians Do It Better, streaming links at https://idib.ffm.to/gamespeopleplay

https://www.facebook.com/PRIMITIVEDESIRE

https://www.instagram.com/desire_musicofficial/


Text by Chi Ming Lai
20th March 2025

MARIE DAVIDSON City Of Clowns

First a member of the duo LES MOMIES DE PALERME but becoming more widely known in ESSAIE PAS with her husband Pierre Guerineau and issuing her first solo album ‘Perte D’Identité’ in 2014, Montreal’s Marie Davidson has returned to electronics and clubland.

Following her last two albums, the “egotistical” techno of ‘Working Class Woman’ and the exploration of different musical styles on the largely conventionally flavoured ‘Renegade Breakdown’ with L’ŒIL NU both on Ninja Tune, ‘City Of Clowns’ is her first on SOULWAX’s DEEWEE imprint following a chance meeting with the Belgian brothers at Sónar 2017 that led to a remix of ‘Work It’.

Co-written and co-produced with SOULWAX and Guerineau, the album is Marie Davidson’s first in over 4 years. Inspired by Shoshana Zuboff’s book ‘The Age of Surveillance Capitalism’ and reflecting on how big tech is changing the way everyone lives, ‘City Of Clowns’ is not only more English than French but also more song-based, although her characteristic spoken word allure remains. A feisty and energetic live performer, her pre-album release showcase at London’s Hackney Oslo was a sell-out.

Davidson’s might first single for DEEWEE was ‘Y.A.A.M.’ and standing for “Your Asses Are Mine”, it expletively punches down at the music business in a cathartic response to a condescending email she was sent. Poetry in techno motion, our heroine wants “all your asses on the floor” as she decides she is happier to “stick with the weirdos”.

With a stark dynamic tension and a repeated French-Canadian deadpan of “DAMAGE”, ‘Demolition’ is absorbing dark electro centred around repetition with a synth tom break. Much fiercer and in direct reaction to her past declaration that she would stop making dance music, ‘Contrarian’ is less song based as a raw barrage of bleeps, squelch and faulty circuitry to a mighty breakbeat thump. Meanwhile the oddball minimal synth disco of ‘Sexy Clown’ has Davison embracing her inner clown, in a delightful exploration of her conflicted feelings around her treatment as an outsider.

But ‘Validations Weight’ provides the ominous conceptual introduction to the album, using real and computer generated speech but by its conclusion, it is the latter that has taken over.

With expletive laden attitude, ‘Push Me F*ckhead’ gets the snappy electro-funk while in English and French, Davidson has some ‘Fun Times’ on a spiky vibrant number about not having children and challenging the now-prevalent far right view that a woman’s only meaningful role in society is reproducing… why bother with all that when her babies can be her art and her fun? The superb electro instrumental ‘Statistical Modelling’ provides an interlude from all the lyrical concerns before ending with the stuttering rhythmic collage of ‘Unknowing’.

‘City Of Clowns’ is an album for people who don’t fit in by someone who herself doesn’t fit in and is happy about that. Rather like her persona, the music of Marie Davidson won’t be for everyone but despite some important existential questions, for those who get it, this is a joyous and sexy collection of club-friendly avant-pop.


‘City Of Clowns’ is released by DEEWEE as a transparent vinyl LP, CD and download and available from https://mariedavidson.bandcamp.com/album/city-of-clowns

https://www.deeweestudio.com/marie-davidson

https://www.facebook.com/mariedavidson.official

https://www.instagram.com/mariedavidson.official/

https://www.youtube.com/@mariedavidson


Text by Chi Ming Lai
28th February 2025

CAUSEWAY Anywhere

If THE BLUE NILE captured the image of cold rainy pavements and blurred headlights passing by, then CAUSEWAY are “In a reality where the sun is neon and the streets are lit with lasers…”

Following their well-received debut album ‘We Were Never Lost’ released on Italians Do It Better in 2022, American noir synth duo CAUSEWAY are back although there have been a few changes. The new album ‘Anywhere’ is issued on Sprechen Music, a British label based in Manchester while they have been exploring some different sonic territory.

Having evolved as a collaborative team, vocalist Allison Rae and synthesist Marshall Watson have streamlined their writing process and kept it remote, allowing a more vulnerable creative mindset with space to reflect, for a work that is authentic and deeply personal.

Maintaining their cinematic dreamwave sound, although the classic slow mo CAUSEWAY is prevalent on ‘Anywhere’, the title track is a key statement that goes all Motorik and minimal with the guitar of Dale Hiscock from ENDLESS ATLAS contributing the West Coast meets Düsseldorf flavour; eschewing the density of most of the tracks on the album, “To me it feels very ‘out of the box’ for CAUSEWAY but it fits in our universe” said Marshall Watson in an interview with ELECTRICITYCLUB.CO.UK

Photo by Khoa Nguyen

Opener ‘Love Me Like Your Last Time’ punches through with a determined power not previously heard on of their debut album ‘We Were Never Lost’ although elements such as the string machine textures and ominous basslines, along with Allison Rae’s resigned vocals remain. Elsewhere, ‘Human’ sees Hannah Lew of COLD BEAT guesting on vocals and its feisty rhythmic propulsion shapes some dark disco as the question is asked “what does it feel to be human?”

But not rocking the boat and not veering too much away from the CAUSEWAY template, the single ‘Dancing With Shadows’ reflects the shady mystery fitting of its title, throbbing and biting in a wonderful hook laden slice of popwave.

Not a cover of THE CURE, ‘It’s Never Enough’ is moodier but shuffles along percussively with various offbeats and obscure timing points which puts it in an intriguing sonic capsule with recollections of Moby. Meanwhile ‘Criminal’ takes on a more funereal pace and almost shoegaze in its wall of harsher frequencies.

Photo by Khoa Nguyen

Adopting a hypnotic triple bass drive and sparkling crystalline figures, the superb ‘Lightyears’ offers Allison Rae’s alluring feminine melancholy as someone “doesn’t want to change”… yes “maybe we’ll be alright in another life” but why carry on? But as she said to ELECTRICITYCLUB.CO.UK: “Having to leave someone that I loved was the hardest thing I have ever done.”

‘Put Up A Fight’ recalls the sound of ‘We Were Never Lost’ in its floaty melodramatic aura although the gothic resonances of THE CURE appear in its guitar interventions which reinforce the paranoia that “they’re coming for me…”

Although the droning gloom is offset by shinier pulses, ‘Ruin Me’ soundtracks an impending submission for better or worse that fittingly acts as what appears to be the closing number. However, the final act comes with a cover of ‘Nobody’s Diary’ that will polarise… the YAZOO classic beloved of many and written by Alison Moyet at the age of 18 will be seen as sacred to some but to their credit, CAUSEWAY go for a different percussive synth rock arrangement with everything thrown in.

Although CAUSEWAY had been originally intending to make a “Mean dirty break up album”, while ‘Anywhere’ is anguished and melancholic, it is also hopeful with a message of love. “It captures the complexity of moving through pain toward something brighter” said Allison Rae; certainly it’s an enjoyable reverb-laden one at that and a more than worthy follow-up to ‘We Were Never Lost’.


‘Anywhere’ is released by Sprechen Music, available in vinyl LP and digital formats from https://sprechen.bandcamp.com/

https://www.facebook.com/wearecauseway

https://www.instagram.com/weare_causeway/

https://wearecauseway.bandcamp.com/


Text by Chi Ming Lai
14th February 2025

« Older posts