Category: Reviews (Page 117 of 200)

THE SOFT MOON Criminal

17 January 2018 /


THE SOFT MOON is essentially a one-man project comprising of multi-instrumentalist and producer Luis Vasquez.

Hailing from Oakland in the USA, THE SOFT MOON gained wider exposure when they supported DEPECHE MODE on the EU leg of their ‘Delta Machine’ tour.

With a sound that distills both synth-heavy Krautrock and dark Post-Punk guitars+bass, ‘Criminal’ is the outfit’s fourth album following their emergence in 2010 with their eponymous debut.

Opening track ‘Burn’ is a take no prisoners kind of track, combining a lo-fi electronic kick with a flanged guitar sound favoured by John McGeoch from SIOUXSIE & THE BANSHEES; the guitar riff itself helps differentiate the track from your typical angsty NINE INCH NAILS fare and ‘Burn’ provides a strong opener to ‘Criminal’.

‘Choke’ slows the tempo with a vocal buried in a fuzz of what could be synths or guitars, the mixed up wall of sound obscuring the detail in the individual elements. Dirty, but hypnotic, the three minute track doesn’t outstay its welcome and signals to the listener that ‘Criminal’ isn’t going to be an easy ride…

’Give Something’ is a reverb drenched piece with the first real slivers of a more melodic vocal line from Vasquez; showcasing a bass part which recalls Simon Raymonde from COCTEAU TWINS, the song features a nifty gliding synth solo. The dark and twisted chorus hook “Give, give me something, when I give nothing” is wonderfully catchy and pinpoints ‘Give Something’ as a real highlight here and a certainty to be a candidate for a future single.

‘Like A Father’ initially revolves around a filthy EBM bass synth sequencer part, live / electronic drums and another densely textured vocal / guitar wall. The main elements which save the track from being one chord repetitive filler is the mix of time signatures which keeps the listener on their toes and a middle eight breakdown which takes ‘Like A Father’ on a welcome diversion with a driving live bassline entering the mix.

‘The Pain’ takes you on a cathartic journey with another bass heavy delivery, a self-doubting Vasquez intones “How can you love someone like me?” and climaxes the piece with a drum-less MY BLOODY VALENTINE-inspired ending.

‘It Kills’ is a dense tom-driven piece with another Banshee-inspired guitar line and a fuzzed-up chorus which recalls mid-period NINE INCH NAILS, the synth-based finish to the piece provides a welcome respite from the full-on assault of distortion.

‘ILL’, ‘Young’ and ‘Born Into This’ all mine a similar sound to their predecessors, before the title track ‘Criminal’ shares some welcome musical DNA with the direction that GARY NUMAN is currently following. The usage of a Roland CR78 loop and bolt-like shots of distorted noise help to reinforce this and a more melodic vocal from Vasquez brings the album to an epic close.

Ultimately it’s the live guitar and bass sound here which saves ‘Criminal’ from sounding overtly like a NINE INCH NAILS pastiche; but this aside, if you are a fan of the UK Post-Punk scene and favour flanged / reverbed guitars, then there is plenty to lap up here.

Another couple of tracks along the lines of ‘Give Something’ would have been welcome, but for fans of the darker side of electronica combined with live instrumentation, ‘Criminal’ would be a welcome addition to their musical collection.

‘Criminal’ is released by Sacred Bones Records in CD, vinyl LP and digital formats on 2nd February 2018

THE SOFT MOON 2018 European Tour dates include:

Baden One of a Million Festival (2nd February), Marghera CS Rivolta (3rd February), Copenhagen Pumpehuset (6th February), Gothenburg Pustervik (7th February), Stockholm Slaktkyrkan (8th February), Oslo Bla (9th February), Berlin Urban Spree (11th-12th February), Paris Le Trabendo (14th February), Amsterdam, Paradiso Noord (15th February), London The Dome (16th February), Brussels Orangerie Botanique (17th February), Luxembourg, LU – De Gudde Wëllen (18th February), Yverdon Les Bains L’Amalgame (20th February), Milan Magnolia (21st February), Rome Monk (22nd February), Napoli Lanificio (23rd February), Bologna Covo (24th February), Munich Kranhalle (7th March), Leipzig UT Connewitz (8th March), Hamburg Hafenklang (9th March), Cologne Gebäude 9 (10th March), Saarbrucken Garage Club (11th March), Nijmegen Doomroosje (13th March), Lille Les Paradis Artificiels (14th March), Nantes Stereolux (15th March), Lyon Epicerie Moderne (16th March)

http://www.thesoftmoon.com

https://www.facebook.com/thesoftmoon/

https://twitter.com/thesoftmoon

https://www.sacredbonesrecords.com

Text by Paul Boddy
17th January 2018

NYXX Featuring AESTHETIC PERFECTION Voodoo

16 January 2018 /


If Britney Spears and Justin Timberlake had not been part of The Disney Club but actually raised by The Addams Family, would they have ended up making a record like this?

Fresh from lending her voice to one of the songs of 2017 in AESTHETIC PERFECTION’s ‘Rhythm + Control’, NYXX begins her year with some ‘Voodoo’. Laced in lusty gothic tension with robotic voices and an almost evangelical middle eight from Daniel Graves, ‘Voodoo’ is like its predecessor ‘Diabolical’, co-written by the AESTHETIC PERFECTION main man.

The promo video, self-directed by NYXX, sees the striking tattooed starlet out in the dust and briars of the LA countryside, pondering how best to dispose of her latest victim because “that girl is psycho”!

The speedier Danny Armand Remix of ‘Voodoo’ with its stutters and drops, comes over like Britney gone dubstep so won’t be to everyone’s tastes.

But with its enticing pop sensibilities and a sinister animist backdrop of swirling electronics built around the rhythmic snap of imperial phase LADY GAGA, the single version of ‘Voodoo’ is the first truly happening tune of 2018.

‘Voodoo’ is released as a download bundle by Close To Human Music through the usual digital outlets

Also available direct from http://www.nyxxnyxxnyxx.com/

https://www.facebook.com/justnyxx/

https://twitter.com/nyxxnyxxnyxx

https://www.instagram.com/nyxxnyxxnyxx/

http://www.aesthetic-perfection.net

http://facebook.com/aestheticperfection

Text by Chi Ming Lai
16th January 2018

BOOK OF LOVE The Sire Years: 1985-1993

10 January 2018 /

Philadelphia and subsequently New York City are home to BOOK OF LOVE.

The band, which created a stir with American synth music crowds, came into being in 1983 when Susan Ottaviano joined forces with Ted Ottaviano (no relation) in Philly, later recruiting Jade Lee and Lauren Roselli Johnson.

The name was adopted from a song by THE MONOTONES and soon the entire crew worked out of New York. Citing influences from anyone from Bowie, through COCTEAU TWINS, THE RAMONES, OMD to DEPECHE MODE, the quarter started writing their own material, and equipped with few demos, notably ‘Boy’, hoped for a label to take an interest.

And a label did… not just anyone but Sire Records, whose president at the time Seymour Stein loved the tubular bells and happy go lucky melody of the track. ‘Boy’ went on to become a notable dance hit, positioning itself at number 7 on the Billboard Dance Chart. Furthermore, it gave the band such success and exposure, that the group happily left their day jobs to dedicate themselves to the craft of music exclusively.

And that’s how their love affair with DEPECHE MODE took off. Having met Basildon’s finest, BOOK OF LOVE were invited to support them, not only on ‘Some Great Reward’ Tour, but to return for the ‘Black Celebration’ live shows as well.

BOOK OF LOVE’s second single ‘I Touch Roses’ was an instant head turner, with the additional kudos of being remixed in its single version by none other than Daniel Miller of Mute. The innovative feel to the song opened more doors for the group and enabled them to get a go ahead from Sire to finish the album. Delicately placed bells, chimes and quirky synth worked wonders for the moody vocals of Ottaviano.

By then the eponymous ‘Book Of Love’ was also recorded, bearing more alternative influences alongside the synths. With a nursery rhyme feel, and musicality recalling JOY DIVISION, it grabbed instantly, providing a fresh substitute to what was out there at the time, and yes, the bells were there too!

The album came, heralded with ‘You Make Me Feel So Good’, a typical dance oriented synth tune with a twist thanks to the vocals encapsulating a merger of SIOUXSIE & THE BANSHEES, KATE BUSH and all the BANANARAMA girls.

Self-confessed admirers of art, BOOK OF LOVE named the second single from the opus after an Italian artist Amedeo Modigliani. ‘Modigliani’ features wonderfully arpeggiated synth, delicate choirs and a plethora of noisy synth thrown in for good measure with a very PET SHOP BOYS-esque ending. A version was used in an episode of ‘Miami Vice’ and the 1987 film ‘Planes, Trains and Automobiles’.

Touring with the mighty DEPECHE MODE and didn’t leave much room for any studio work, therefore the continuum ‘Lullaby’ was recorded after the ‘Black Celebration’ Tour was completed. Mark Ellis aka Flood took the reins of production, fresh from working with ERASURE and U2.

The title track introduced somewhat folky elements to its composition and featured a gentler approach to the whole enterprise. The influences from ERASURE and DEPECHE MODE are clearly palpable, without stripping off the absolute uniqueness of what BOOK OF LOVE were about.

‘Pretty Boys & Pretty Girls’ which was the first single from ‘Lullaby’ openly tacked the hot topic of AIDS. The plea to practise safe sex was a novelty in synth music, and it was warmly received, given the candied feel of the track and its easy listening qualities. As the tubular bells were essential in BOOK OF LOVE’s proposition, a snatch of MIKE OLDFIELD’s classic composition also found itself on the production.

‘Witchcraft’ presented a notion of sampling, with the original series ‘Bewitched’ in its heart. Consisting the peculiar rapping from all the three girl members, combined with simple melody and candid vocals, it was the only single to fail to chart.

‘Candy Carol’ was the third album, released in 1991, and with the changing musical landscape and introduction of new genres, there was a need for Ottaviano and co to provide a quirky alternative. Inspired by carols and the need for a decent melody, tracks like ‘Alice Everyday’ and ‘Counting The Rosaries’ performed by Lauren Roselli or ‘Sunny Day’ with harps, bells and simple guitars added up to an uncomplicated proposition against rap, hip hop and the raise of Seattle’s grunge.

Ted Ottaviano produced the fourth BOOK OF LOVE’s album ‘Lovebubble’ himself, with the band members doubting their place in the current musical climate, and the record proved to be the quartet’s last. ‘Boy Pop’ was a big dance club hit and an ode to gay love, while ‘Sunday A.M.’ represented a beautifully sculptured melody and gentile additions.

‘Hunny Hunny’ brought the tempo up to speed with a punctuated arpeggiated synth beat a la ERASURE, American style. ‘Chatterbox (Pt 2)’ was a part of the double single with Jade Lee on vocals.

BOOK OF LOVE have previously released couple of ‘Best Of’ style compilations and now, Susan and Ted Ottaviano are back by popular demand, releasing and touring ‘The Sire Years: 1985-1993’, with all the aforementioned tracks and more, to relive and enjoy the quirkiness, simplicity and joy of their heyday.

If you weren’t a fan back then, or it slipped your radar, jump on the bandwagon now, because BOOK OF LOVE are just what the doctor ordered.

‘The Sire Years: 1985-1993’ is released as a CD by Note For Note Music on 19th January 2018

BOOK OF LOVE play Miami The Kitchen Club (13th January), Orlando The Social (14th January), Seattle The Crocodile (9th February), Dallas Granada Theater (16th February), New Orleans One Eyed Jacks (24th March), Atlanta Aisle 5 (7th April), Denver Herman’s Hideaway (21st April)

http://www.bookoflovemusic.com

https://www.facebook.com/bookoflovemusic/

https://twitter.com/bookoflovemusic

https://www.instagram.com/bookoflovemusic/

Text by Monika Izabela Trigwell
10th January 2018

VAL SOLO Songs From Another Time… And Space

6 January 2018 /

If you describe your influences as the “softer” side of synthpop and cite Nik Kershaw, Howard Jones, YAZOO, HEAVEN 17, together with ABBA and ELECTRIC LIGHT ORCHESTRA as your inspirations and have been making popular synth music since 1983, the good chance is that your name is Val Solo.

Valdi Solemo started up in Sweden in a Malmö band POP-OUT, before deciding to relocate to Bulgaria to work with some of the cream of local musicians, producing and writing there.

The music hungry sound shifter produced DR. FONKENSTEIN, before coming back home after ten years to join S.P.O.C.K. Now, Val Solo presents his “alone” project, with the exception of remixes from such recognised figures as Johan Baeckström of DAILY PLANET and NASA’s Patrik Henzel in charge of mastering.

‘Songs from Another Time… And Space’ can be best described as a younger brother to the UK’s own KID KASIO, where the prevailing love affair with the synth during its most prolific era is the theme. The album cover features the music magician surrounded by good old vintage cars depicted in black and white, where Val looks into the future, preserving the feel of the times when life was simpler.

If you’re after a sophisticated, masterfully poignant electronica, you won’t find it here. If however, you’re looking for a cheery, uncomplicated and easy listening pieces to take you back in time, ‘Songs From Another Time… And Space’ are for you.

Is it the super vintage ‘Why Would You Tell Me’, the era love affair of ‘Dream Girl (Purple Eyes)’, or the ‘Star Wars’ inspired ‘Party Like A Stormtrooper’ with its synths a la AND ONE, there’s something for everyone here. The latter even bears the musical blueprint of Essex boys MODOVAR.

‘I’m In Space (Cabdriver Dreams)’ is a perfect disco track with its mantric refrain and fun execution in such a way, there’s nothing left to do but let your hair down and party. The opening ‘Why Don’t You Talk To Me’ with its additional three remixes, notably one by Johan Baeckström, is the most accomplished number on the opus, reminiscent of YAZOO and early DEPECHE MODE. Who says synthpop has to be serious… VAL SOLO proves that having fun isn’t a bad thing, especially in the world of today, where we are all bombarded with negativity, politics and dystopian ideas.

Solo’s “solo” is unostentatious, modest and not at all fussy. It’s music for those willing to be transported to much simpler times, with much purer ideas and uncomplicated rhythms.

‘I Believe’ it’s vital to shed the shackles of the ordinary existence and let yourselves go… “let it happen, life is just what you want it to be”.

‘Songs from Another Time… And Space’ is released by Zoolemo Music and available as a download or CD from https://valsolo.bandcamp.com

https://www.facebook.com/ValSoloPop/

Text by Monika Izabela Trigwell
6th January 2018

PAUL STATHAM Asylum

30 December 2017 /

Paul Statham’s musical contributions date back to post-punk, and having worked and composed for many successful artists, his accolades are many.

Signed to Mute, his project PEACH with a fellow producer Pascal Gabriel, brought ‘Audiopeach’ and the song ‘On My Own’ featured in the film ‘Sliding Doors’, became a US top 20 hit. Working with SIMPLE MINDS and THE SATURDAYS alongside others, his main commercial success came on Dido’s and Kyle Minogue’s albums as a co-writer and producer.

Having his fingers in many pies includes co-founding the band B-MOVIE, acting as a visiting professor in Leeds College Of Music and running songwriting workshops in London. Statham also developed his own project THE DARK FLOWERS, which featured collaborations with Peter Murphy, with whom the producer has a long lasting working relationship, SIMPLE MINDS’ Jim Kerr, Dot Allison from ONE DOVE and HELICOPTER GIRL. If that wasn’t enough, the multi-talented artist busies himself with film, art installations and exhibitions.

Recently the many faces of Paul Statham were realised in a start-up of his own label Loki Records and the release of an eight track album ‘Asylum’. Having been signed to Warner Chappell Publishing for over twenty years, Statham set up Loki to issue his experimental material, a phase which began with the ‘Ephemeral’ and ‘Installation Music 1’ releases.

‘Asylum’ features music from an audio visual installation created with painter Jonathan McCree, which was held in Asylum Chapel in South London’s Peckham. The opening eponymous track’s video utilises images from an Italian exhibition as well as dancers from Turkish State Contemporary Dance Company. The song itself is minimalistic and sparse, yet evolving the feelings of distress, fear, anxiety, laced with blissful oblivion and dread.

Soundtrack worthy, ‘Asylum’ is creepily delicious, and the senses are becoming to wake with the following ‘Collision’, a messier, more confused enterprise, still bearing the elements of dystopia and madness. ‘Who Won’t Wait’ continues the ambient atmosphere with the feeling of no hope, and ‘Tq347773’ brings a delicate piano, treated with a dose of electronic manipulation.

‘Rhea Moon’ introduces a steady beat and a promise of brighter days within the disjointed musicality and leads onto much heavier sounding ‘Estuary Point’. Here, the inevitable dread returns with the uncomfortable images of being shut out from the world, enclosed in a small space and being fed disturbing images for no other reason but to be broken. Was Statham going for mind control references here; Montauk experiment perhaps?

No relief comes in the form of ‘Malleki’, which utilises treated found sounds; wooden, primal, ritualistic. The strings and piano have no chance against the gritty synth. The closing ‘Ascend’ promises a glimmer of hope from the onset. Being lifted in a beam of light; lifted to the higher spiritual plains or being taken maybe.

This is the beauty of ambivalent music – anyone can imagine what they like and address the feelings a particular piece may evoke. ‘Ascend’ brings that aura of weightlessness, the divine connotations and the calmness of being, away from the “asylum”.

‘Asylum’ will appeal to the discerning customer, to the lovers of unusual synth play, GAZELLE TWIN or maybe even THE KNIFE. It’s wholesomely cinematic, marvellously ethereal and perilously addictive, if you aren’t afraid of darker auras and more intellectual sound manipulations.

‘Asylum’ is released on CD by Loki Records, available from https://www.lokirecords.com/shop

http://paulstathammusic.com

https://www.facebook.com/paulstathammusic/

https://paulstatham.bandcamp.com/

Text by Monika Izabela Trigwell
30th December 2017

« Older posts Newer posts »

© 2017 ELECTRICITYCLUB.CO.UK | Email: [email protected]
Privacy Policy

Up ↑