Category: Reviews (Page 120 of 200)

MICHAEL OAKLEY California

13 November 2017 /


Michael Oakley is a talented Glaswegian who describes his music as “Melancholic postcards from my heart wrapped up in synthesizers and drum machines”.

His debut EP ‘California’ rides on the current craze for Synthwave, which emerged following the cult acclaim for the neon-noir thriller ‘Drive’ in 2011 and its soundtrack featuring CHROMATICS, ELECTRIC YOUTH and KAVINSKY. Since then, TV series like ‘Stranger Things’ and their stark backdrop of vintage electronics have maintained the synthwave propagation.

Now virtually every new electronic pop act using widescreen synths from SOL FLARE and NINA to KNIGHT$ and PERTURBATOR is being labelled Synthwave. But what is Synthwave? To ELECTRICITYCLUB.CO.UK, it appears to be synthpop but dressed with sunglasses or Italo disco with neon signs and American accents.

But didn’t Giorgio Moroder do all this in 1980 on the soundtrack to ‘American Gigolo’? And it could be argued that John Hughes’ adoption of British new wave acts like SIMPLE MINDS, THE PSYCHEDLIC FURS, NEW ORDER and OMD for his soundtracks is another stray gene in synthwave? Indeed, the excellent ‘Without You’ by ELECTRIC YOUTH wouldn’t have sounded out of place on ‘The Breakfast Club’ soundtrack?

Speaking of which, Oakley says of his debut EP: “Imagine for a second this is 1985, you’ve just came out of the cinema from watching ‘The Breakfast Club’ and you’re driving home in your DeLorean and flicking through the radio stations looking for some more John Hughes movie soundtrack music…. Well here it is.”

Much in the same way his fellow Scots like WET WET WET, HIPSWAY, LOVE & MONEY, DEACON BLUE, TEXAS and GUN looked Stateside to realise their aspirations, Oakley is doing something similar in the 21st Century.

But that’s not to detract from the fact that ‘California’, where some of the recording also took place, features some very good songs.

‘Rabbit In The Headlights’ begins with the nostalgic sound of a cassette going into the in-car player while the straightforward rhythmic pulse leads into a glorious tune recalling ‘Get Closer’ by Valerie Dore, complete with Italo “woah-oh” chants. Arranged more conventionally, one could imagine this being sung by Taylor Swift.

Meanwhile, ‘Turn Back Time’ is catchy rock elettronico,  bursting with hooks and melodies while complimented by a classic synthetic percussion framework and a guitar solo. Call it Synthwave, synthpop, electropop, Italo or whatever, this first pair of songs on ‘California’ reveals Oakley’s songwriting chops, regardless of genre.

The title track is more of a rock ballad, but continuing at this more moderate pace, ‘Devotion’ is reminiscent of CHVRCHES on their most recent album ‘Every Open Eye’ and pleasingly, Oakley has a far superior singing voice to Martin Doherty.

‘Here Comes The Night’ doesn’t quite hit the heights of ‘Rabbit In The Headlights’ or ‘Turn Back Time’, but ‘End Of Summer’ is musically what a collaboration between TANGERINE DREAM and NEW ORDER might have sounded like.

This is an impressive first salvo from Oakley which shows great promise and potential. His love of ‘Miami Vice’, ‘Blade Runner’, ‘Back To The Future’ and ‘Drive’ quite obviously glows from his work.

But what he needs to do now is stand up from his influences and perhaps be cautious of throwing in too much towards the current fashion for Synthwave… after all, we know what happened with Romo, Synthcore and Electroclash.

‘California’ is available as a download EP from https://michaeloakleysynthwave.bandcamp.com

A limited edition purple vinyl and cassette edition is released by Timeslave Recordings, available at https://timeslaves.bandcamp.com/album/california

https://www.michael-oakley.com/

https://www.facebook.com/MichaelOakleyOfficial

https://www.instagram.com/michaeloakleyofficial/

https://twitter.com/MichaelOakleySW

Text by Chi Ming Lai
13th November 2017, 20th January 2018

ZOLA JESUS Okovi

9 November 2017 /

Every now and again an album passes under the radar, being understated and not necessarily given the attention it deserves. But as we are entering the fully autumnal atmospheres, one opus stands out to fulfil the musical void, heading towards the wintery blues.

‘Okovi’ is ZOLA JESUS’ fifth long playing offering, which brings back the previously abandoned colder auras adored by her followers.

America’s ZOLA JESUS aka Nicole Hummel aka Nika Roza Danilova debuted in 2009 with the magnificently underrated ‘The Spoils’.

Having quickly aligned herself with the Ice Maiden Of Synth, Sweden’s FEVER RAY, who she supported live, Danilova started building a rather faithful fan base. Unlike her musical colleagues such as GRIMES, GAZELLE TWIN or KARIN PARK, Danilova with her operatic voice, plays within the boundaries of exceptional vocals over her very own take on electronica. All that against the backdrop of freezing Russian inspired themes, brings along a serving of uncommon coldness and eerie uncertainty.

‘Okovi’ or “shackles” in many Slavic languages, marks another symbolic journey for ZOLA JESUS, this time affected directly by her loved ones’ misfortunes. If life’s a struggle, we all carry our own shackles, which would stunt our progress, but it’s essential to learn how to exist through the journey regardless.

And with this theme in mind, Danilova invites to travel alongside her; a painful walk through the life path to perhaps let the shackles fall eventually.

From the dark opening with ‘Doma’, Slavic for “Home”, all the way to the wonderfully cinematic, heavenly orchestral ‘Half Life’, with nothing but monumental voice over sublime melody, Danilova takes one on a trip of self-discovery and self-respect.

Surreal, fear inducing and menacing strings lead into ‘Exhumed’, which opens up into a tribal magnificence of drums, along with a plethora of synthesised sounds and haunting choirs; a grown-up EVANESCENSE in essence.

How different is ‘Remains’ with its goth danceability factor, with powerful piano elements and iridescent vocals, or ‘Soak’ with the pop particles, reinforcing the message of support (“you should know I will never let you down”) with hauntingly beautiful vocal execution?

‘Ash To Bone’ continues the monochrome feel with classic instruments entwined with the wires of sparse electronica, which repeats in ‘Witness’, the latter being a melancholically wholesome offering of help against the darkest thoughts, “to keep the knife from you”.

‘Siphon’ takes the message of lending a helping help to those in depths of depression (“we just want to save you… we just want to show you there’s more to life”), Danilova “won’t let you bleed out, can’t let you bleed out” over an offbeat extravaganza of mesmerising noises, which towards the end become gritty and grizzly.

This leads into the masterfully menacing ‘Veka’, which features samples of words spoken backwards, similar to those used by Lynch in his celebrated ‘Twin Peaks’ series every time deceased Laura Palmer spoke. They certainly add to the spooky feel of the tune, being ghostly and not from this word entirely. The song flourishes into an alarmingly paced hybrid of euphoric revelation a la FAITHLESS’ ‘Insomnia’.

“If it doesn’t make you wiser, doesn’t make you stronger, doesn’t make you live a little bit, why do you do it?” Danilova cries in ‘Wiseblood’, questioning the motivations in our actions. Why do we hurt ourselves continuously? To learn perhaps…

The subject of depression, feeling unnecessary and unwanted has been portrayed by many artists over the years, throughout many genres, taking on many shapes and forms.

But what Danilova shows here is not just hope; it’s the realisation that it’s ok to be less than happy some of the time, to carry your “shackles” and to be ordinary. And it’s ok to think dark thoughts, it’s cathartic.

By far, ‘Okovi’ is her most grown-up, wholesome offering. Musically and otherwise, Danilova excels herself, having fought her own demons, and in the process creating an electronic masterpiece.

Congratulations ZOLA JESUS, you have made an album which will knock many of their pedestals. You have certainly erected yourself a monument here.

‘Okovi’ is released by Sacred Bones Records

http://zolajesus.com

https://www.facebook.com/zolajesusofficial/

https://twitter.com/zolajesus

Text by Monika Izabela Trigwell with special thanks to Simon Worboys
8th November 2017

OMD What Have We Done

7 November 2017 /


In a strong year for albums, OMD have released one of the best of 2017 in ‘The Punishment Of Luxury’ and the campaign continues with a new single and video for one of its highlights ‘What Have We Done’.

With a Synthanorma sequence that retains the essence of their KRAFTWERK inspired roots, ‘What Have We Done’ features Paul Humphreys on lead vocals. The life, love and loss lyrics for this waltzing lament came to him after having to put his dog Patsy to sleep.

However, this slice of passionate Modernen Industrielle Volksmusik could also act as symbolism for the end of any relationship, whether political or personal, and coupled to a beautifully sparkling melody recalling Ryuichi Sakamoto’s ‘Merry Christmas Mr Lawrence’, the song has deservedly become a live favourite on OMD’s current tour in support of ‘‘The Punishment Of Luxury’.

The observational video itself has a circle of life narrative that also recalls the ‘Powers Of Ten’ films directed by Charles and Ray Eames, where scenes are expanded out from the Earth.

Heading into their 40th anniversary as a performing unit when they played at Liverpool’s Eric’s in the Autumn of 1978 accompanied by Winston the tape recorder, the breadth of musicality, technological curiosity and lyrical wordplay of OMD is as strong as ever.

It’s a big lesson to those contemporaries of theirs, whose recent albums have not been particularly good, as to what spirit actually is…

‘What Have We Done’ is taken from ‘The Punishment Of Luxury’ released by 100% Records, ”The Punishment of Luxury: B Sides & Bonus Material’ featuring previously vinyl only tracks such as ‘Ha Ha Ha’ and ‘Lampe Licht’ plus extended mixes will be released as a CD on 15th December 2017

OMD’s ‘The Punishment Of Luxury’ 2017 UK tour with opening act TINY MAGNETIC PETS includes:

Bexhill Del La Warr Pavilion (15th November), Manchester Academy (17th November), York Barbican (18th November), Glasgow Royal Concert Hall (19th November), Birmingham Symphony Hall (21st November), Gateshead Sage (22nd November)

2017 European dates with opening act HOLYGRAM include:

Erfut Traum Hits Festival (25th November), Hamburg Grosse Freiheit (26th November), Berlin Huxleys (28th November), Leipzig Haus Auenesse (29th November), Munich Tonhalle (30th November), Offenbach Stadthalle (2nd December), Düsseldorf Mitsubishi Electric Hall (3rd December), Tilburg 013 (5th December), Antwerp De Roma (6th December), Lausanne Les Docks (8th December)

2018 two man shows featuring Andy McCluskey and Paul Humphreys only include:

Stockholm Vasateatern (5th February), Gothenburg Pustervik (6th February), Oslo Rockefeller (7th February), Copenhagen DR Studie 2 (9th February), Warsaw Progresja (11th February), Paris Bataclan (12th February), Barcelona Razzmatazz (14th February), Madrid La Riviera (15th February),
Lisbon Aula Magna (16th February), Isle of Man Douglas Villa Marina Hall (20th February)

http://www.omd.uk.com/

https://www.facebook.com/omdofficial/

https://twitter.com/OfficialOMD

Text and Photo by Chi Ming Lai
7th November 2017, updated 15th November 2017

BOYTRONIC Jewel

2 November 2017 /

BOYTRONIC certainly have been through many line-up changes, hiatuses and disappearances and reappearances from the German synth scene since 1983, but now it’s the time for the big return.

‘Jewel’ marks the 2017 reincarnation of the trio, with Ingo Hauss, Hayo Lewerentz and James Knights.

Since Hauss and Lewerentz have approached the project in a fluid manner, rather than “we are in a band, therefore we have to deliver” configuration, the artistic process has been more relaxed and not rushed, until they found Winchester boy James Knights.

The former vocalist of SCARLET SOHO recorded ‘Time After Midnight’ with the German duo, without any expectations or further plans, but, since musically it represented the kind of material BOYTRONIC have been loved for and it was warmly received by the hungry fans, the three musicians decided that a brand new BOYTRONIC album was in order.

Following previous multiple releases, with the last opus ‘Dependence’ some ten years ago , ‘Jewel’ promises “a new beginning as well as the continuation of the success story” for the Hamburg based project.

Inspired by Martin Scorsese’s ‘After Hours’, ‘Time After Midnight’ marries an excellent nostalgic synth sound and vocal à la Marc Almond in his prime, and is a perfect re-introduction into the quirky sound of BOYTRONIC, who have always had that edgy feel to their material.

‘The Universe’ distinguishes itself with masterful arrangements and rather original approach to synth. Lewerentz calls it – “a centre part in Alice in Wonderland mode”; its simplicity unparalleled, and its depth unreachable, a little gem.

Talking about which, the title track is certainly precious. A little bit of mystery, a dash of versatile vocal and a dose of nostalgia recalling CAMOUFLAGE equals a wonderfully rounded down tempo tune.

While the cinematic ‘Jewel’ is “shiny and clear”, ‘Mad Love’ is loaded with magically pulsating rhythm, reminiscent of BOYTRONIC’s earliest releases, with its metallic synth sound and an innate musicality seeded deeply in Lewerentz’s creations, making it a perfect choice of the first single.

‘Share’ is a dark horse, with breaking the boundaries of electronica as we know it; a bit EBM-ish but without the tedious stomps and unnecessary twists. Lyrically it describes the unruled sharing of contents on social networks, which has become somewhat a mare for the artists of today.


‘My Baby Lost Its Way’ is a minimalist pop hit, which dazzles with the danceability factor and brings back the club feels of old, while ‘Dark Passion’ ushers in the Eurotrance beats over nautical connotations a la ‘Das Boot’. No surprises there as Lewerentz, along with Ingo Hauss and producer Alex Christensen, was also involved in the successful U96 project.

Semi-instrumental and fully robotic, ‘Disco City’ leads to the most surprising entry on the album; a cover of U2’s ‘New Year’s Day’.

“We came up with the idea spontaneously at the studio”, says Lewerentz. “Ingo, James and I were jamming away when suddenly James joined in our chord harmonies with the ‘New Year’s Day’ chorus. We looked at each other in surprise and decided: Might as well have a go at the original.” The result is a very fitting electronic version of the well-known song, which actually sounds heavens better than the original.

It is indeed pleasing to see the BOYTRONIC spark light up again; much fresher, fuller and bigger, but still keeping in with its beginnings – something not many can deliver so easily.

“BOYTRONIC has always been about pop songs, danceable, catchy and always a little mysterious” says Lewerentz and ‘Jewel’ certainly provides on that level.

If you’re looking for something non-conforming and not quite fitting into the box, there you have it… BOYTRONIC at their best.

‘Jewel’ is released by SPV Records in Europe and Metropolis Records in North America on 3rd November 2017

https://www.facebook.com/boytronicmusic

https://twitter.com/BoytronicOffice

Text by Monika Izabela Trigwell
2nd November 2017

FEVER RAY Plunge

1 November 2017 /


The First Lady of the Swedish electronic scene Karin Dreijer returns and the comeback is indeed a bit of a ‘Plunge’.

Being one half of THE KNIFE who shook the foundations of Swedish synth music and created new directions in all things electronic, Dreijer has for years embodied the most influential figure in darker, artier synthpopia. THE KNIFE, formed in Gothenburg with her brother Olof, released a few notable albums, including the uncompromising ‘Shaking The Habitual’ in 2013, to disband the following year after a number of successful live appearances.

Yet back in 2009, Dreijer couldn’t wait to unleash her solo project under the pseudonym of FEVER RAY, which gave a go ahead to artists such as IAMAMIWHOAMI, KARIN PARK, GAZELLE TWIN, AUSTRA, THE HORN THE HUNT, NIKI & THE DOVE and perhaps to Canada’s GRIMES as well. The school of hauntronica was opening doors to a wide variety of female artists who wanted to take the synth to another level.

The eponymous album number one was heralded by ‘If I Had A Heart’, which caused a stir big enough to be featured in many TV series, with ‘Breaking Bad’, ‘Person Of Interest’ and ‘Vikings’ to name a few. The Ice Maiden Of Synth also contributed vocals to the works by DEUS and RÖYKSOPP, composed the soundtrack to ‘Dirty Diaries’, ‘Hour Of the Wolf’, and gigged extensively, gathering more than positive reviews. Known for her visual extravaganza of costumes, masks, body paints and theatrical props, Dreijer makes an unexpected return with ‘Plunge’.

Weird and eerie sounds on ‘Wanna Sip’ pull strings from the onset, inviting a celebration of what’s unusual and egocentric. The curious urgency created by the clever use of musical elements ends abruptly, to be followed by ‘Mustn’t Hurry’; the Nordic vocals are pushing boundaries over mysterious beats, leading to pitch-bent hysteria on ‘A Part Of Us’ featuring Tami T.

‘Falling’ is the preparatory tune, designed to work as shift change into the more political and designed to shock part of the album. The most experimental on the opus, it features samples of dial tones, bells and harsh vocals to unnerve and “feel dirty”. For a tribal feel of distorted vocal and sex noises, all wrapped up in Japanese notion over the playground antics, let’s go into ‘IDK About You’. Weird enough? Certainly…

But then comes ‘This Country’; here Dreijer gets political, sexual and more peculiar still. Referring to “perverts”, “free abortions, clean water” and the general statement that “this country makes it hard to f**k” pretty much says it all. It’s all a risky ‘Plunge’ (except the title track is a chipper instrumental proposition); ‘To The Moon & Back’ being the classic example of it with the scandalous “I want to run my fingers up your pussy”. Have we heard it right!? Oh yes, FEVER RAY has the fever, and she’s not ashamed to admit it. And all this over ERASURE-esque arpeggios!? And why not!

The vibrations change to cinematic eastern violin, which buzzes with the urgency of noise in ‘Red Trails’, shifting to ‘An Itch’ with its axe grinding qualities, to be reconciled with ‘Mama’s Hand’. With that stretched voice, trying to explain the subject matter as love, but what love? Maternal, sexual, of a brotherhood of men; has Dreijer found her destiny? Has she reached her fulfilment? Has she cleared the uncertainty or merely muddied the waters further?

FEVER RAY has certainly transformed, noticeably evolved, properly grown, unafraid to spell things as they are. The ambivalent political-sexual manifesto is there for grabs. It won’t be to everyone’s taste, but for the lovers of the quirky, strong, semi-feminist and above all, bursting with art forms, ‘Plunge’ will hail the new era. It’s an era of unbridled sexuality, paradoxical freedom and all things weird and beautiful.

And who will FEVER RAY inspire next?

‘Plunge’ is released by Rabid Records via the usual digital platforms

https://feverray.com

https://www.facebook.com/FeverRay/

https://twitter.com/feverray

https://www.instagram.com/feverray/

Text by Monika Izabela Trigwell
1st November 2017

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