Category: Reviews (Page 121 of 200)

FIFI RONG The One

18 October 2017 /

One person who is not shying from experimenting within the electronica genre is Beijing born, London based FIFI RONG.

Not only has she rebelled against the ordinary in her homeland China, but when the realisation that spreading her musical wings wasn’t going to happen there, she took the bald step of relocating to somewhere she could really emerge. And since, she has with sublime songs such as ‘Only If I Knew’ and ‘Next Pursuit’. Bred on MAZZY STAR and COCTEAU TWINS, the dainty songstress has been developing her own ethereal, eerie style, with the incorporation of some magnificent electronica, to challenge many of her contemporaries.

None other than YELLO invited her to tour and perform with them, and the Oriental Beauty has been going from strength to strength since with her multiple single releases.

ELECTRICITYCLUB.CO.UK is catching up with FIFI RONG just in time for her latest release ‘The One’.

The last time ELECTRICITYCLUB.CO.UK chatted to you, you were embarking upon your YELLO adventure and since then, there have been live events with the guys themselves!

Yes! Last year I did 4 sold out shows at Kraftwerk Berlin with YELLO. They were their first-ever shows so it was intense and I loved it. And this year we are doing different dates, and much more spread-out.

The Montreux festival was a lot of fun. Geneva was very beautiful. And I’m looking forward to the upcoming arena shows in Germany, Switzerland and Austria too.

‘The Same Road’ took your followers as surprise with a faster tempo and a clear nod towards the poppier side of things?

Yes. I like challenging myself and I like experimenting. I know I can do moody downtempo all day long, but I like to explore the uptempo side of me too while staying undeviated from who I am.

Are we to expect for ‘The One’ to usher more changes which will define your creations for a while, or is the organic process of your music making never ceasing to evolve?

I think ‘The One’ is more holistic and conclusive, from what I was in the very early days to what I am now. It happened as a simple bassline, I had no intention for it to become a so-called dub reggae vibe. I’m not aware of these things, I thought it was interesting, that’s all. So who knows what will be the next bits of excitement that are coming my way 🙂

Having released some fantastic singles, are we to expect a long player to follow?

Yes. I’m making an EP first, and this is likely to be followed by the album sometime next year. I know I have been warming up for a while. But I hope it’s worth the wait as I have been writing so much. Basically I’m being patient and I only want to release the best tracks, rather than 5 mediocre albums with some good tracks. I’m in no rush. Quality comes first.

The Pledge Music campaigns have really worked for you…

Yes, I’m very fortunate to have a small group of loyal followers who believe in me as an artist, a person, and a spirit behind all this. And they support and stay open minded to grow with me and accept my changes and evolution.

You have travelled extensively over the last few months. Any highlights?

Yes! Geneva was paradise! So in love with the lake and the mountains there. But I only got to stay there for one day. Texas was lovely. Beautiful and generous sun shine… Spain, where I escaped to on my working holiday, where I went on a solo adventure into the mountains and to the sea. You get the pattern. I like sunny places with clear water. But ironically I’m attached to London. Like a complicated love hate relationship:)

Is China still shutting you out, or are they warming to your creations? Have you any thoughts about how popular music is developing there?

Haven’t had many thoughts or attention towards it. If there was another Fifi, I’d delegate her to have a scan of what’s going on. Otherwise, London is my home, regardless of how it perceives me 🙂

Any new hardware or software in your studio you’d like to share your excitement about?

Oh yeah lots!! I got my Maschine2 with Komplete and a new system. I absolutely exhausted my old set up with the previous version of Logic X and my own samplers. So I’m exploring the new systems, very slowly.

I’m a bit like a dog with a bone type of person when it comes to music technology. A bit thick but I eventually get my teeth into it and won’t let go 🙂

Would you say this year marks a milestone in your career so far?

I would say it’s been nice and steady and I like the pace of my development as a songwriter, performer and producer. All these things take time and craft from the insider perspective. And the outside result is simply what it looks from the outside. I don’t think about it too much 🙂

What does the future hold for FIFI RONG as 2018 approaches?

A new EP and album as I mentioned earlier. It means lots of hard work on songwriting, recording and production 🙂

So basically it’s a case of just putting my head down, as I feel I’ve only just scratched the surface of my creativity…

‘The One’ is available now via AWAL through the usual digital outlets

FIFI RONG plays London Archspace on 19th October 2017

http://www.fifirong.com/

https://www.facebook.com/fifirongmusic/

https://twitter.com/fifirong

Text and Interview by Monika Izabela Trigwell
18th October 2017

TANGERINE DREAM Quantum Gate

15 October 2017 /

2017 has been a stellar year for electronic music releases, from the latest high charting works by OMD and GARY NUMAN through to the collaboration between TANGERINE DREAM members Ulrich Schnauss and Thorsten Quaeschning on ‘Synthwaves’.

With founder member Edgar Froese’s passing in 2015, his intention was for the band to continue with his vision, in this case compositions based upon quantum physics. So Froese himself has writing credits on all but one of the tracks on this latest release ‘Quantum Gate’.

With Hoshiko Yamane completing the trio, it was left to the remaining TANGERINE DREAM members to complete the musical sketches left behind by the founding father of the band. This in itself would be a daunting enough task to do justice to the pieces, plus there additionally lingers the factor that there are some that would argue that without Froese, the band should be laid to rest.

Where other acts who lost their leader like QUEEN have doggedly soldiered on by using different vocalists, at least there is a certain anonymity associated with instrumental electronic music which means that there isn’t quite that awkward comparison when a new front person tries to emulate the sound of a departed former member.

‘Synthwaves’ was a superbly produced piece of instrumental electronica, but with its release date being relatively close to that of the latest TD album, it was never going to escape direct comparison with ‘Quantum Gate’. On initial listening, ‘Quantum Gate’ floats over the listener and in many places lacks the directness and strong musical themes present on ‘Synthwaves’, but with multiple listens, the complexity of the pieces start to reveal elements that the listener may have missed first time around.

The epic 13 minute plus ‘Sensing Elements’ is a challenging opener, the first 5 minutes bombards the listener with multiple melodies and rapidly changing chord progressions and it’s only around the six minute mark when a classic hypnotic TD bass sequencer part starts to emerge that the track begins to lift-off and take shape. Around the 9 minute mark, additional Berlin School-style higher sequencer parts raise the dynamics until the piece reaches a melodic and satisfying conclusion.

In comparison, ‘Roll The Seven Twice’ is far more direct proposition, with a bass sequence which recalls the trance-tastic JAM & SPOON remix of the trance classic ‘Age Of Love’, the track also features an anthemic synth chord lead part which provides the first hook on ‘Quantum Gate’. Latterly throwing in some 4/4 drums and a descending musical variation, ‘Roll The Seven Twice’ provides ample evidence that Froese’s legacy really is in safe hands here.

With its pulsing bassline and electronic white noise percussion, ‘Granular Blankets’ starts off eerily reminiscent of DEPECHE MODE’s ‘Barrel Of A Gun’ before showcasing the Ulrich Schnauss influence on the band with his Shoegazing wall of sound aesthetic. The oddly titled ‘It Is Time To Leave When Everyone Is Dancing’ starts developing into (shock horror!) a bit of dance-oriented stormer before changing tack halfway through with a new beat pattern and a hyper-catchy bassline.

‘Identity Proven Matrix’ features the sitar-like texture which graced ‘No-Man’s Land’ from the 1983 album ‘Hyperborea’ and at approximately 5 minutes in length, doesn’t waste any time in showcasing its strong orchestral string melodies and chord progressions.

Out of all the tracks on ‘Quantum Gate’, ‘Identify Proven Matrix’ is the most Johannes Schmoelling-era sounding TANGERINE DREAM track here. The attention to detail with the interlocking resonant synth is superb – a rolling Christophe Franke-style sequencer part is utilised later in a piece which will delight fans of the band’s mid-period purple patch.

With an analogue string synth intro, ‘Tear Down The Grey Skies’ unintentionally starts off like BON JOVI’s hair metal anthem ‘Living on a Prayer’, but a superb interlocking sequencer part soon helps to completely banish that distasteful comparison! A climbing Jarre-like melody adds the icing on the musical cake and provides ‘Quantum Gate’ with another strong highlight.

Closing track ‘Genesis of Precious Thoughts’ (could there be a more TANGERINE DREAM-sounding title?) progressively builds with an energy rush of interlocking sequencers before breaking down to just piano and Hoshiko Yamane’s plaintive violin. The intricate drum programming on the remaining 5 minutes is truly stunning and completely wipes away the memory of some of the muzak-style forays into live percussion which for some blighted the band during the noughties.

With a running time of 70 minutes in length and an unpredictable musical complexity throughout, there is little in the way of instant gratification here. We live in musical times where song intros are being shortened due to people’s attention spans reducing and Spotify payout rules so in that context ‘Quantum Gate’ provides a refreshing, but challenging listen.

Ultimately this release proves that it was the right decision for TANGERINE DREAM to continue and somewhere at a different cosmic address, Edgar Froese will be looking down, safe in the knowledge that his musical legacy is being carefully protected.

‘Quantum Gate’ is released in CD, double vinyl LP and download formats by KScope

http://www.tangerinedream.org/

https://www.facebook.com/TANGERINEDREAM.OFFICIAL

http://www.kscopemusic.com

Text by Paul Boddy
15th October 2017

AVEC SANS Live in London

1 October 2017 /


Electropop duo AVEC SANS gave a wonderfully assured performance on the final night of their UK tour in London’s Hoxton Square Bar & Kitchen with a dazzling combination of sound, colour and passion.

Since the release of their well-received debut album ‘Heartbreak Hi’ in June 2016, Alice Fox and Jack St James have been very much in demand for live shows where AVEC SANS have made the biggest impression.

While the pair have been compared to CHVRCHES and PURITY RING, Fox’s bittersweet vocal expression has a deeper resonance compared to the occasionally shrill voices of Lauren Mayberry or Megan James. Meanwhile in a concert setting, St James’ use of three back flipped Novation Launchpads alongside a Nord keyboard and electronic drums has solved that age old authenticity conundrum in electronic music to clarify what is live and what is Memorex…

Beginning with the moody synthwave of ‘When You Go’, cheers greeted the familiar blips of ‘Perth’, AVEC SANS’ electro cover of BON IVER’s folkie lament inspired by the late Australian actor Heath Ledger.

With its gliding arpeggios and spacey vocal manipulations, ‘The Answer’ proved equal to ‘My Mistake’ Mercedes-Benz favourite NINA, while the driving pop of album highlight ‘Hold On’ ensured the enthused dancing in the first few rows was maintained.

‘Resonate’ and ‘History’ both explored the offbeat sub-bass whips of PURITY RING before a catchy synthpop tune with an essence of CHVRCHES was offered in the marvellous ‘We Are’.

AVEC SANS pay close attention to detail in their live presentation from Fox’s glowing mic lead to the effective use of St James’ flashing controllers as both visual and connective tools; the platinum blonde singer punched the air with aplomb while the baseball capped instrumentalist multi-tasked with a joyful demeanour.

The swirly ‘Shiver’ and the R’n’B tinged fervour of ‘Heartbreak Hi’ title track concluded an energetic set but now established as a fan favourite, there was the bonus of an enjoyable cover of the Kate Bush classic ‘Running Up That Hill’ as an encore.

Having impressed with their crisp debut album, AVEC SANS now move onto their follow-up long player. With all the experience acquired since their formation in 2012, Fox and St James have the potential to deliver an opus to take them to the level of their lauded Scottish and Canadian contemporaries.

Professional, organised and hardworking, many acts could learn from AVEC SANS’ approach to live presentation, visual image, media engagement and audience networking. It may seem obvious to have a range of photos for press into organised folders but quite a few bands don’t even manage that!

With these basics sorted, AVEC SANS have climbed the first steps of the ladder.

The album ‘Heartbreak Hi’ is released by Beverly Martel, available via the usual digital outlets as well as CD and vinyl LP

http://avecsans.com/

https://www.facebook.com/avecsansband/

https://twitter.com/avecsans

Text and Photos by Chi Ming Lai
1st October 2017

SHOOK Tidal

28 September 2017 /

SHOOK is a composer, producer and musician based in The Netherlands. 

Real name Jasper Wijnands, vintage keyboards within his studio set-up include a Polymoog, Siel Orchestra, Yamaha DX7 and Roland Juno 60, while there is also more modern hardware like the Dave Smith Prophet 12 and Nord Electro 4.

His electronically tinged work is influenced by jazz, funk and anime soundtracks; this led him to be commissioned to remix Ellie Goulding’s ‘Lights’ in 2011 and JAMIROQUAI’s ‘Lifeline’ in 2013. Despite this, SHOOK’s most recent album ‘Continuum’ has captured a more moody virtuoso ambience, recalling AIR and Ryuichi Sakamoto’s ‘async’ long player which was released earlier this year.

A key track from the ‘Continuum’ album, ‘Tidal’ has been accorded its own visual presentation directed by Anise Mariko of mikineko productions, who was responsible for the ‘Been Waiting’ video for COMPUTER MAGIC. Filmed by Sony Ambassador Ivan Wong, it is a picturesque travelogue capturing the essence of Tokyo, Hong Kong and New York.

With a musical backdrop of gentle marimba-like textures and soothing synths, cityscapes, malls and markets are captured alongside more serene gardens, forests and cultural focal points.

Mariko said to ELECTRICITYCLUB.CO.UK: “We explored rooftops and alleys around the world. Shook has been hospitalized for the past year and is a dear friend of ours – We wanted to dedicate the freedom and beauty of this video to him”.

Wijnands was diagnosed with Pancreatitis in 2016, but is determined to continue making music as he makes his recovery. ‘Tidal’ is a fine projection of his positive spirit in the face of adversity.

‘Tidal’ is from the album ‘Continuum’, available in CD, vinyl LP and digital formats directly from https://shook.bandcamp.com/album/continuum-album

https://www.shookmusic.com/

https://www.facebook.com/shookshookshook/

https://www.instagram.com/shookmusic/

http://www.mikineko.com/

https://twitter.com/radioclub_jp

Text by Chi Ming Lai
28th September 2017

SARAH P. LoveStory

27 September 2017 /

Greek electropop goddess SARAH P. releases one of the first songs she ever wrote as a single.

Of ‘LoveStory’, she said to ELECTRICITYCLUB.CO.UK this year: “I struggled for many years to find a love that’s pure and not one-sided. I suffered multiple heartbreaks – they’re countless, really, and I was so defeated that when real love came to me, I was incapable of even realizing it. For a long time, I was trying to destroy it, before it destroyed me. That being said, my partner (who would later become my husband) was extremely patient with me. He was able to tear down my defence walls and ‘fix my wounds’”.

Although the passionately afflicted song from the debut album ‘Who Am I’ is about how hearts can be broken into pieces by love interests, there is also a sense of airy optimism and that is reflected in the serene visual accompaniment. Filmed by award-winning director Eftychia Iosifidou and featuring SARAH P. with dancer Clio Arvaniti, friendship and sisterhood are two of the video’s key themes.

The beautifully hazy imagery captured of the bond between the two girls in ‘LoveStory’ recalls moments from the acclaimed British independent movie ‘My Summer of Love’, which featured a soundtrack by GOLDFRAPP. It also starred BAFTA winner Natalie Press and included the theatrical film debut of Emily Blunt, now a Hollywood star.

SARAH P. concludes: “It’s a love song that can be sung to a mom, dad, child, sibling, friend, pet, lover; whomever / whatever’s cheering you up needs to receive this love letter”

‘LoveStory’ is from the digital album ‘Who Am I’ released by EraseRestart Records

http://sarahpofficial.com/

https://www.facebook.com/sarahpofficial/

https://twitter.com/sarahpofficial

Text by Chi Ming Lai
27th September 2017

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