Category: Reviews (Page 125 of 200)

NTTX Of Beauty & Chaos

5 August 2017 /


Deep into his love of EBM, the Toronto based Gord Clement, known as NTTX, has made a comeback to follow up his first EP, ‘Objective’.

Known to the die-hard fans of DEPECHE MODE for his infamous cover of ‘New Dress’, with its beefed up, stomp beats and a politically charged change of lyrics (this time it’s Princess Kate, with an adequate video for good measure), the Canadian, formerly the singer and songwriter of ATOMZERO, ushers in some more heavy sounds on newly released ‘Of Beauty & Chaos’.

Since his departure from ATOMZERO, Clement has been utilising his strong vocal over some FRONT 242 inspired tunes, and the present offering is a good example of his harsher ear teasers.

The opening ‘Move Dark’ brings out the Doc Martens and isn’t at all suitable for the gentle synth lover. ‘Prey’ continues with a further dose of the “to be used responsibly” on the dance floor; it has some interesting elements to it, similar to the following ‘True’, which bears more refined concepts, along with almost vintage electronica in the choruses.

The EP’s gem however, is the slower tempo ‘Earth’. A synth ballad of sorts, not shying from a gentle guitar, it’s almost like AND ONE on ‘Virgin Superstar’. It’s as if Clement spent a month at a German retreat with Steve Naghavi, the latter playing the role of the master.

Enter ROTERSAND on the rework of ‘Falls Beautiful’. Clement’s voice on this one feels more redirected and manly, and it raises in line with the upward feel of the track. NITZER EBB-y in places, PRODIGY-like in others, this truly is a fascinating mix of what can be achieved when working outside of the otherwise laborious EBM genre.

Clearly loving his covers, the closing rework of the FM rock biggie ‘Eye Of The Tiger’ begs the question as to “why?”

Not the classiest of renditions, because the SURVIVOR’s version can’t be beaten, certainly not when bumped up to the industrial status, but clearly Clement had some fun there.

If you love your EBM, you’ll love this, but the feeling persists that NTTX may be a little more than an industrial monkey; the clear examples being ‘Earth’ and ‘Falls Beautiful’.

A very strong vocal presence and some interesting ideas place the man from Toronto well above many, and perhaps on the next outing, the audiences will hear something spectacular. After all, the Canadians have a long history with the good old synth…

‘Of Beauty & Chaos’ is released by WTII Records as a download EP, available from https://wtiirecords.bandcamp.com/album/of-beauty-and-chaos-2

http://www.nttxmusic.com/

https://www.facebook.com/nttxmusic/

https://twitter.com/nttxmusic

Text by Monika Izabela Trigwell
5th August 2017

THE FRIXION If U Ever Wonder EP

29 July 2017 /

THE FRIXION are a new name, but the duo are both experienced hands…

British-born singer and lyricist Gene Serene emerged from Berlin’s hedonistic club scene and teamed up with RADIOPHONIC WORKSHOP and CLOR cohort Bob Earland for her debut album ‘The Polaris Experience’ in 2015.

Meanwhile, synthesist and producer Lloyd Price is best known as a collaborator of SIGUE SIGUE SPUTNIK’s Martin Degville and a member of alternative eyeliner punk combo MASSIVE EGO who released their most recent opus ‘Beautiful Suicide’ on Out of Line Records.

Forming in 2016, Serene and Price’s combined sound mines both classic synthpop and Weimar Cabaret on their debut EP offering. The rich and stellar vocals of Gene Serene are on full display on the title track; ‘If U Ever Wonder’ oozes an accessibility reminiscent of LITTLE BOOTS, but thanks to Price’s production and arrangement, there’s a dark avant quality about it too.

The pop sensibilities continue on ‘Heartbroke Disco’, with Serene coming over like a Goth Kylie over Price’s trancey Numan-eqsue backbone. The brooding musicality of ‘From Dusk ‘Til Dawn’ exposes THE FRIXION’s moodier side, the wobbling bass synth and minor key mode lifted by a great chorus that is countered by a haunting spy drama instrumental section.

‘We Walk A Line’ swings in 6/8 like a mighty electro-COCTEAU TWINS trapped at Hansa Tonstudio, while to finish the five song collection, there’s a tribute to The Purple One with a touching take of his ‘Under The Cherry Moon’.

This excellent reinterpretation accentuates PRINCE’s often hidden spiritual link to European pop forms and recalls ‘The Rhythm Divine’, YELLO’s collaboration with Shirley Bassey.

The ‘If U Ever Wonder’ EP is a fine collection to launch THE FRIXION; the songs are varied enough while still having a core identity to build a connection with a curious electronic pop audience.

It’s rather like making a good impression on a first date in the hope of at least getting a second one… and yes, ELECTRICITYCLUB.CO.UK would like its second date 😉

‘If U Ever Wonder’ will be available as a CD EP or download on 14th August 2017, pre-order from https://thefrixion.bandcamp.com/

https://www.facebook.com/TheFrixion/

https://twitter.com/TheFrixionBand

Text by Chi Ming Lai
29th July 2017

The Sound of SONNY ERIK$$ON

28 July 2017 /

SONNY ERIK$$ON is the Teddy Boy Timelord who fuses rockabilly with the futuristic electronic sounds of today and beyond…

Armed with a laptop and a Gretsch guitar, this Cyberbilly template on this debut album inevitably comes over like a quirky blend of SUICIDE, SIGUE SIGUE SPUTNIK and Billy Idol. ‘Pleasurama’ is a superb opening number, like Gene Vincent gigging in an outer space jungle as interpreted by the one-time William Michael Albert Broad if he had joined THE SILICON TEENS.

‘1stcrushadrenalinerush’ follows a similar direction, but this speedier number utilises vocoders and detuned metallic textures within its unusual mix. ‘Creating A Memory’ throws in some ravey blips to accompany the rhythmic guitar while ‘C’Mon America’ crosses Henry Mancini with Leonard Bernstein and Stephen Sondheim as ‘America’ from ‘West Side Story’ is pitch manipulated in a frantic and frankly bonkers slice of pyschobilly.

‘Dreams Are Made In Outer Space’ is paradoxically a more acoustically driven romp while the waltzy ‘Boom Bang Bang’ borrows from the hit made famous by the Glaswegian lass born Marie Lawrie. Closing with the timpani laden ‘Sing A Song’, ‘The Sound of SONNY ERIK$$ON’ will not be for everyone.

But as a modern electronic pop record, it stands out in 2017 just for being that bit different. Overall, this album is good fun and perhaps should be experienced live to attain its full conceptual effect.

‘The Sound of SONNY ERIK$ON’ is released as a digital album by Future Waltz Recordings

https://www.instagram.com/sonny_eriksson/

https://www.youtube.com/channel/UCc5D4ZH3HNvYWvG5lQk3KMA

Text by Chi Ming Lai
28th July 2017

GARY NUMAN My Name Is Ruin

27 July 2017 /


The Android In La La Land is back, back! BACK!

Gary Numan may have promised “just more of the same really, if I’m totally honest” with his new album ‘Savage (Songs from a Broken World)’, but launch single ‘My Name Is Ruin’ is a mighty and brilliant first salvo.

While ‘My Name Is Ruin’ does borrow heavily from ‘Love Hurt Bleed’, one of the highlights from ‘Splinter’, it features several interesting musical directions. Guitars are less obviously prominent and the Middle Eastern flavoured backing is more hauntingly electronic.

Meanwhile the song features vocals from Numan’s daughter Persia which add a distinctly ghostly edge to proceedings. She even makes an appearance in the superbly panoramic post-apocalyptic video filmed in the Californian dessert; it was directed, shot and edited by Chris Corner aka IAMX.

When Gary Numan spoke to ELECTRICITYCLUB.CO.UK in early 2016 to launch the Pledge Music campaign for what has now become ‘Savage’, he said: “I want it to be heavy, I want it to be electronic, I want it to be dark and aggressive in places… so that’s just described ‘Splinter’”.

But if Numan’s twentieth album gets the acclaim and reception of its predecessor, it will be another fine achievement to add to the Ivor Novello Award he has already received in 2017

‘Savage (Songs from a Broken World)’, is released in a variety of formats by BMG on 15th September 2017

GARY NUMAN 2017 ‘Savage’ tour includes:

Cardiff Tramshed (30th September), Bournemouth O2 Academy (2nd October), Leeds O2 Academy (3rd October), Bristol Colston Hall (5th October), Oxford O2 Academy (6th October), Nottingham Rock City (7th October), Newcastle O2 Academy (9th October), Glasgow O2 ABC (10th October), Birmingham O2 Institute (11th October), Manchester Academy (13th October), Brixton O2 Academy (14th October), Brighton Dome (16th October), Norwich Nick Rayns LCR (17th October), Southend Cliffs Pavilion (18th October), Leuven Het Depot (19th October), Paris Le Trabendo (20th October), Amsterdam Paradiso (21st October), Bratislava Majestic (24th October), Cologne Essigfabrik (25th October), Berlin Columbia Theater (26th October), Lodz Klub Wytwornia (27th October),

http://www.garynuman.co.uk/

https://www.facebook.com/GaryNumanOfficial/

Text by Chi Ming Lai
27th July 2017

CLOSED CIRCUITS Australian Alternative Electronic Music of the 70s & 80s, Volume 1

26 July 2017 /

‘Closed Circuits’ is a new compilation which brings together a set of post-punk / electronic tracks by some of the unsung artists from the Australian underground.

With the emergence of Antipodean electronic acts over the last 10 years including THE PRESETS, VAN SHE, LADYHAWKE, CUT COPY and GRAFTON PRIMARY, now is a prime time to have a body of work which charts the more experimental material which emerged before these artists gained commercial prominence. The compilation was put together by writer and historian David Nichols.

In his liner notes he adds: “This collection brings together a wide range of recordings really only united by one thing: people using technology to produce something fresh. These were not necessarily artists wedded to the idea of the ‘new wave’ or even hoping to wipe out old rock music; but what these tracks do represent is forward-thinking, inventive, progress…”

The title and artist name of the opening track ‘A Circuit Like Me’ by THE METRONOMES gives you a fair idea of what to expect from it, an utterly charming double monosynth, string machine and Roland CR78-driven song with detached female vocals. The song which features guest vocals from Talking Judy had become much sought after by collectors, so its appearance here will be welcomed by many.

‘Shout & Deliver’ by THE REELS was released in 1981 and narrowly missed the Aussie Top 40, peaking at No43; desperately catchy, it was let down by a slightly oddly panned sound mix. Despite being over 35 years old, the synths, vocal production and chord progressions here sound remarkably current and way ahead of their time.

Initially ‘Great X-1’ by INFORMATICS comes across like a THOMAS DOLBY B-side, mainly instrumental with a ‘One of Our Submarines’ style Moog bass. Halfway through, a slightly off-key vocal unexpectedly appears with the lyrics being a paean to the Bell X-1, an early rocket powered aircraft.

‘On’ by MODELS is a bass-driven DURAN DURAN-influenced synth rock track by an act which eventually went on to achieve decent success in their homeland, even gaining a No1 in 1985.

The band also got some prestigious support slots, accompanying DAVID BOWIE and THE POLICE at early points in their career. ‘On’ is punctuated by some slightly off-kilter synth riffs including one which sounds like FAD GADGET has joined the band, quirky, but entertaining nonetheless!

Talking of FAD GADGET, the intro to ‘Waiting Time’ by YA YA CHORAL is a cheeky re-write of ‘Ladyshave’, with pretty much the same drum machine and octave bassline. However, once the track progresses, the track changes direction with THE CURE-like guitar dominating and an indie female vocal.

Another collectable single making an appearance here is KAREN MARK’s ‘Cold Cafe’, reputably fetching $500 at one point, the song could be seen as an Aussie YAZOO, with emotional female vocals over a monosynth backing, again this is another lost treasure which shows that it wasn’t just the UK that was able to produce synthetic music with a quality vocal on top.

Space doesn’t permit to give mentions to all of the 20 tracks here, but there are some real gems; from DISTANT LOCUST’s slightly bonkers drum machine / fuzz guitar rework / rewrite of DONNA SUMMER’s iconic ‘I Feel Love’ through to rock / synth hybrid ‘Rock Rock Daddy’ by JULES and a lost work by ANNE CESSNA & ESSENDON AIRPORT from 1981.

In many ways this is a really valuable companion product to the UK Cherry Red compilation ‘Close To The Noise Floor’, itself a tying up of the formative years of early synth experiments this side of the pond. What is interesting though is that if anything, the quality of music production here is higher than many of its UK counterparts, especially from a vocal point of view.

Also of note is the high prominence of tracks which aren’t afraid to meld guitars and rock elements with synths, again something which sets many of these tracks apart from European artists. For those that have any interest in the evolution of electronic music (Australian or otherwise) this is a really fascinating compilation and fills in many of the historical gaps. Highly recommended.

‘Closed Circuits: Australian Alternative Electronic Music of the 70s & 80s, Volume 1’ is released a CD, digital download and limited edition 2LP set with four extra tracks on 28th July 2017 by Festival Records / Warner Music Australia

Further information at https://roughtrade.com/music/closed-circuits-australian-alternative-electronic-music-of-the-70s-and-80s-volume-1

Text by Paul Boddy
26th July 2017

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