Category: Reviews (Page 108 of 200)

TECHNOMANCER The Outsider EP

5 July 2018 /


What do ZONE TRIPPER, LABORATORY 5 and TECHNOMANCER have in common? Simple, it’s the EBM / Futurepop producer Alyxx J Digre and her supercharged world of synthpopia.

Based in Sarpsborg, Norway, the Lady Of Darkness has always been into synths and guitars, and hell bent on making it big in the music industry, she kept perfecting her producing skills until she hooked up with Per Aksel Lundgreen (ANGST POP, APOPTYGMA BERZERK, CRONOS TITAN, CHINESE DETECTIVES, SHATOO) to produce ‘Ødipus Rex 2012’.

2013 saw the first album by TECHNOMANCER, and the continuous remixes with Lundgreen, but Digre also likes to work with the legendary Stephan Groth from APOPTYGMA BERZERK. And indeed, both electro kings are featured on the newest release from the cold Norway girl; ‘The Outsider’, where we are seeing a four song tribute to the acts that TECHNOMANCER and Co consider valid.

Previously released, ‘The Outsider’ is taken from ‘A Tribute To PSYCHE’ and ‘I’ve Got A Sister In The Navy’ comes from ‘Heredity – A Tribute To RATIONAL YOUTH’. Additionally we are served newly recorded cover versions of ULTRAVOX’s ‘Sleepwalk’ and a vintage DM classic ‘Puppets’.

The opening ‘Puppets’ features the synth magician Groth of APOP who eagerly participated; “I would love to be a part of this” he said, “I know just what to add”. Groth came up with additional synths and vocals as they agreed that “Depeche Mode have been done to death, but the idea was to do a cover of them from the time they were really good, and get that old feeling back!” – and they sure did.

ANGST POP features on the RATIONAL YOUTH favourite ‘Sister In The Navy’ and with its catchy hooks, is a classic return back to the synthesizer’s heyday. ‘Sleepwalk’ retains the classic ULTRAVOX vibe with an almost robotic voice and doesn’t go far from the original, which became the first single from the ‘Vienna’ album. Softly updated to a faster version it simply works.

PSYCHE’s cult hit ‘The Outsider’ takes a second viewing with a faster paced, busier rhythm, with added guitar and gritty synth, which detract from the super dark original, keeping in with the gloomy moods all the same.

Whether you like covers or not, TECHNOMANCER did their homework here, paying homage to in their minds, the greatest synth acts during their golden age, and if the whole thing manages it with APOP stamp all over it, then all the better!

‘The Outsider EP’ is released by Subculture Records and available via the usual digital platforms or direct from https://technomancer.bandcamp.com/album/the-outsider-ep

http://www.technomancer.no

https://www.facebook.com/technomancermusic/

Text by Monika Izabela Trigwell
Cover Artwork Photography by Petra Rönnholm
Live Photo by Steven Stieng
5th July 2018

JUNO REACTOR The Mutant Theatre

2 July 2018 /

Fusing the genres, bending the rules, twisting the traditions and cooking up a mish-mash of ordinary and unexpected, is what JUNO REACTOR do best.

Roughly described as electronic trance doesn’t quite portray what Ben Watkins of London does with his projects. Sure it’s something one would expect walking into any branch of Cyberdog, if you include the colourful UV light responsive garments and strobes, but the collective are responsible for far more than that.

Combining art, cinema and working with the cream of world renowned musicians, the group has gained international acclaim through their breathtaking performances, full of theatrics, amazing costumes and vivid lighting.

And that’s not all; JUNO REACTOR are behind the soundtrack to ‘The Matrix Trilogy’ none the less, as well as for numerous games and other movies. Having opened for MOBY, they also collaborated with THE CREATURES and various acclaimed directors and artists, while releasing eight albums of supercharged trance gems. Now comes opus number nine with ‘The Mutant Theatre’.

‘Juno Reactor & The Mutant Theatre’ is a name for the live show from the collective, gathering Watkins himself, Taja Devi and Tal Tula Ben-Ari on vocals, Nataly Hay in charge of dance, Amir Haddad on guitars, Johann Bley on drums, joined by Agnivo and Stigma Show, as well as visual performance troupes from Russia.

The album features tracks from the show, with ‘Our World’ as the first single.

The hardness of the sound blends in with the otherwise inconspicuous beat, forcing its way through the meanders of drums, twists, steps and processed voices, saying “our world will never feel the same again”. Supported by female vocals, the beat rolls down the steps of fascinating depth and maturity.

But the bigger surprise is the ethnic sounding ‘The Return of the Pistolero’, with its Mexican inserts and guitar a la Zorro. And ‘Pistolero’ does indeed make his return from JUNO REACTOR’s single released in 2000.

The gunman’s comeback is fiery and pulsating with newly found urgency, which continues into ‘Let’s Turn On’, where the mantric rhythm starts the dance machine as if on demand. Thinking of FIFI RONG’s latest video? This is exactly like that, but on trance steroids (with an added dose of Melodyne)!

‘Dakota’ is an Native American song transgendered into a club classic, while ‘Alien’ sounds as extra-terrestrial as can be, with that classic trance pirouette, before it gets heavier, more extravagant and more on speed.

When it rains, ‘The Sky Is Blue The Sky Is Black’ and “you need the total control”. “There is no place for fear” and JUNO REACTOR fears nobody, and with the whole package, why should they? After all, ‘Showtime’ is what it’s all about, and here the melody shines through with the rough musicality which is Love Parade worthy, bringing the oblivion to the limits of the universe and beyond. Is there anywhere ‘Voyager 304’ can reach?

The closing ‘The Tannhäuser Gate’, with its title taken from ‘Blade Runner’ and ‘Soldier’ movies, referring to a kind of warp station, named after a German poet of the Middle Ages, sums up the opus with a surprising mood shift.

Slower, more sinister and very cinematic, it wraps up the production with an uneasy feeling of doom at the point of no return. Are we entering a parallel dimension, and if so, is it a positive?

With ‘The Mutant Theatre’ release, followed by globe-spanning shows from Caesars Palace in Las Vegas to Mount Fuji in Japan, JUNO REACTOR and co will be busy this summer and autumn and if there’s a gig worth seeing, that would be it!

Best viewed as a package, the trance electronica lends itself fabulously to the intricate show, full of dance, light and madness, Ben Watkins style.

‘The Mutant Theatre’ is released by Metropolis Records in vinyl LP, CD and digital formats

http://junoreactor-mutanttheatre.com

https://www.facebook.com/junoreactorofficial/

https://twitter.com/JunoReactor

https://www.instagram.com/junoreactorofficial/

https://soundcloud.com/juno-reactor1

Text by Monika Izabela Trigwell
2nd July 2018

DUBSTAR You Were Never In Love

28 June 2018 /


It was 2000 when the last DUBSTAR album ‘Make It Better’ was released, but the trio of Sarah Blackwood, Chris Wilkie and Steve Hillier imploded after a career which saw them score several hits in ‘Not So Manic Now’, ‘Stars’, ‘Anywhere’ and ‘No More Talk’.

Blackwood reappeared in 2003 as the lead singer of CLIENT, the female duo who found cult success in Germany with their feisty brand of electronic pop.

In 2010, DUBSTAR reformed and issued a cover of ‘I’m In Love With A German Film Star’ for a charity compilation in aid of Amnesty International.

Then there was a 2013 comeback concert at The Lexington in London. But things went quiet on the DUBSTAR front, although Blackwood maintained a recorded presence, contributing her voice to songs by FOTONOVELA, KOISHII & HUSH, RADIO WOLF and VILE ELECTRODES, while also DJ-ing at TEC003.

Coming out of nowhere on 1st June 2018, DUBSTAR reappeared as a duo with a brand new tune ‘Waltz No9’ hitting digital platforms. Before anyone even had time to breathe or notice the departure of Steve Hillier, a second song ‘You Were Never in Love’ was unleashed to the public.

‘You Were Never In Love’ also forms the starry-eyed basis of the first new DUBSTAR video since ‘The Self Same Thing’ and sees Sarah Blackwood looking rather radiant. A gorgeous slice of enticing dream pop that maintains the aura of classic DUBSTAR thanks to a wonderfully forlorn vocal presence, it comes from their brand new album ‘One’.

Produced by Youth and with Chris Wilkie now taking keyboard duties as well as contributing guitar and songs, titles like ‘Please Stop Leaving Me Alone’ and ‘Why Don’t You Kiss Me?’ indicate that the bittersweet bedsit dramas that made DUBSTAR so appealing are still very much present and correct on ‘One’.

Having sat on the bridge between Britpop and Synth Britannia in their heyday, ‘One’ looks likely to be a worthy addition to a tradition which began with ‘Disgraceful’ and continued with ‘Goodbye’ and ‘Make It Better’.

‘You Were Never in Love’ is from the new DUBSTAR album ‘One’ which is released on 28th September 2018 via Northern Writes, pre-order the CD, vinyl LP or cassette direct from https://dubstar.tmstor.es

http://dubstarofficial.co/

http://www.facebook.com/dubstaruk/

https://twitter.com/dubstarUK

Text by Chi Ming Lai
28th June 2018

PAGE Start EP

27 June 2018 /


The Count and Countess of Swedish electronic pop are back-back-BACK!

Eddie Bengtsson and Marina Schiptjenko initially came together in PAGE as far back as 1980, releasing their first single ‘Dansande Man’ in 1983. Since then, the pair have parted and reunited on a number of occasions although both continued to make sine waves at home and internationally.

Bengtsson had his ongoing solo mission SISTA MANNEN PÅ JORDEN but found fame with S.P.O.C.K while Schiptjenko joined Alexander Bard from ARMY OF LOVERS in VACUUM and then BWO. More recently as PAGE, the pair released an enjoyable trilogy of albums ‘Nu’, ‘Hemma’ and ‘Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut’ which have affirmed their position as one of Sweden’s leading electronic pop pioneers.

Their latest EP ‘Start’ comprises of three new songs plus a remix by Norwegian EBM trailblazers APOPTYGMA BERZERK. Having already covered Gary Numan’s ‘Tracks’ in Swedish as ‘Spår’ and paid an initial Numanoid tribute on ‘Utanför’ for ‘Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut’, PAGE have gone the full hog with the ultimate homage to the imperial years of the man born Gary Anthony James Webb.

The appropriately named ‘Start’ remembers a time before ‘Dance’ ever happened with buzzing Minimoog basslines and swirling Polymoog strings coming over like a mash-up of ‘Tracks’ and ‘Metal’. Yes, there are machine music overtures but there is melody too, a skilful trait often forgotten with vintage Numan.

Photo by Simon Helm

‘Stör Ej’ goes a step further and as well as borrowing from ‘This Wreckage’, it actually samples the Compurhythm pattern from ‘Love Needs No Disguise’ halfway through. But despite the familiar aesthetics, this is a song that stands up on its own with a fabulous retro-futuristic tone.

Best of all though is ‘Nere För Räkning’, an urgent slice of pulsing synthrock with a piercing vibratoed lead line akin to the keyboard acrobatics of Billy Currie from ULTRAVOX who was part of the Numan band for the UK leg of ‘The Touring Principle’.

Assisted by Per Aksel Lundgreen, Stephan Groth of APOPTYGMA BERZERK provides a redux of ‘Krasch’ from ‘Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut’. Now while the union with PAGE may seem unlikely, APop’s most recent long player ‘Exit Popularity Contest’ was a wonderful instrumental retreat into the territory of Jean-Michel Jarre and NEU! It showed that Groth had as much of a sweet ear for electronic melody as PAGE, even if it was usually hidden by noise and aggression. With an Italo-derived octave shift bassline replacing the more rigid structure of the album version, APOPTYGMA BERZERK’s rework greatly improves on the original.

Yes, this EP does party like it’s 1979, but that familiarity helps it to possibly be one of PAGE’s most immediate and accessible bodies of work in their long career. If you have never checked out the work of Eddie Bengtsson and Marina Schiptjenko before, then this release is no better way to start…

‘Start’ is released by Energy Rekords as a limited edition CD, available direct from https://hotstuff.se/cdm-page-start-ep-digipack-limited-edition-300-copies/68573

https://www.facebook.com/PageElektroniskPop

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

Text by Chi Ming Lai
27th June 2018

FAKE TEAK Bears Always Party The Exact Right Amount

25 June 2018 /

When Andy Pandy and Teddy were “waving goodbye” at the end of each episode, what was actually going on once the box was shut? Was it really “time to go home” or were the pair partying the night away?

London-based combo FAKE TEAK with their brilliant new video ‘Bears Always Party The Right Amount’ show that like girls, bears just wanna have fun. Cleverly filmed around the city and on the London Underground with seemingly no strings attached, Bear joins his pals Monkey, Giraffe, Dolphin and FAKE TEAK themselves for a night of disco revelry.

Self-directed by the band themselves, their puppetry skills have certainly not been in vain and the end result is one of the best independent low-budget music videos to have been made in recent years.

Giving away some of their trade secrets, singer and instrumentalist Andrew Wyld recalled: “We used broom handles with fishing line on them—since the breaking strain on fishing line is quite high, it was enough for the weight of the stuffed animals, but it’s also very fine and mostly doesn’t show! For close up work, we also used coathanger wire, which we slid inside the stuffed animals’ arms, for example, as in the scene where they share a drink…guitarist Alastair Nicholls came up with the concept for the video, I storyboarded it and then between us we figured out the shooting script and how we were going to move the stuffed animals”

It’s proof that once a band puts their mind towards some inventive visual representation to accompany their music, anything is possible. The song itself is an appealing quirky mix of LCD SOUNDSYSTEM and TALKING HEADS, driven by synth-derived organ sounds and a groovy rhythmic backbone from Andrea Adriano.

The second single from FAKE TEAK’s upcoming debut album, the band’s ARP Odyssey Goddess Joanna Wyld said: “’Bears Always Party The Exact Right Amount’ is about everyone being welcome to be exactly who they are and to party exactly how they want. It’s about seizing the day and not caring how you look or whether you made a mistake. However much you want to dance: that’s the right amount. However we just played it: that was the right way”

Just a quick note that the Bear was not hurt during filming and even if he was, IT’S A PUPPET! 😉

‘Bears Always Party The Exact Right Amount’ will be available as a download single from the usual digital platforms

FAKE TEAK launch the single with a gig at The Finsbury, 336 Green Lanes, Harringay, London N4 1BY on Friday 29th June 2018 – nearest tube is Manor House on the Piccadilly Line

https://www.facebook.com/faketeak/

https://twitter.com/faketeak

https://www.instagram.com/faketeak/

https://soundcloud.com/faketeak

Text by Chi Ming Lai
25th June 2018

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