Category: Reviews (Page 130 of 200)

ALISON MOYET Other

2 June 2017 /

The release of 2013’s ‘the minutes’ sparked a real creative renaissance for Alison Moyet.

It kickstarted a relationship with Madonnaproducer Guy Sigsworth and has now been perpetuated with 2017’s ‘Other’. ‘the minutes’ saw a welcome full-on return to electronics for Moyet, something which fans of YAZOO had long wished for. With the opening salvo of tracks, the ghost of Bristol’s MASSIVE ATTACK looms large; subtle sonic elements of ‘Teardrop’ and ‘Better Things’ and the dominant sparse beat programming mean that ‘Other’ initially creeps slowly into the consciousness with ‘I Germinate’ and ‘Lover, Go’.

‘Lover, Go’ showcases a beautifully softer side to Moyet’s vocal range, subtly understated and suiting the electronic backing perfectly, the track is an early highlight of the album with a piano coda bringing the song to its conclusion.

Alison Moyet has never been shy of using suggestively sexual lyrics… ‘Love Resurrection’ caused a certain amount of controversy with some of its wordplay like “I want you to grow in my hand”. ‘Beautiful Gun’ continues this, but melded to a track which sounds like an inventive electronic re-imagining of Boston’s THE PIXIES gene-spliced with GARBAGE.

It’s hard to listen to lead off single ‘Reassuring Pinches’ without thinking of the Netflix series ‘Stranger Things’, the opening filtered analogue synth that ushers the track in is sonically and musically very similar.

One of the refreshing things about ‘Other’ and its predecessor ‘the minutes’ are that neither resort to lyrical cliché, for an artist which has been this established it would be very easy to rest on their laurels, but it is a testament to Moyet and Sigsworth that ‘Other’ is not afraid to take risks. This is most evident in the spoken word vocal on ‘April 10th’; arguably the most experimental track that Moyet has been present on since ‘I Before E Except After C’; musically the song is built on a thundering low bass synth and military-style electro snare roll.

‘Happy Giddy’ provides a welcome injection of tempo as seven out of the first eight tracks steadfastly adhere to a sub-100 bpm template; the song itself being the most YAZOO-like here. The intro is based around a skittery drum machine and a synth riff cut from the same cloth as the Thomas Dolby-produced ‘Magic’s Wand’ by WHODINI. Halfway through the song goes on a downtempo detour before coming full circle with its electronic conclusion.

The album climaxes on another downtempo track ‘Alive’ and in a strange twist of fate, one can imagine DEPECHE MODE’s Dave Gahan vocalling the song, with it following a similar melodic scale to ‘Going Backwards’ from ‘Spirit’.

When viewed as a whole, ‘Other’ takes a not insignificant sidestep away from the more commercial-sounding ‘the minutes’; the success of that album has obviously given Moyet the confidence to be more experimental here in the knowledge that her fanbase will surely follow her every move.

‘Other’ is a very reflective and beautifully produced work; arguably it could possibly have benefitted from one more uptempo track, but this may have detracted from the overall reflective nature of the album. One thing that can’t be argued is that with Sigsworth on board now as an established muse, Moyet’s musical partnership is undeniably the best that she’s had since the one she shared with Vince Clarke and ‘Other’ is another superb addition to her musical canon.

‘Other’ is released as a CD, vinyl LP and download by Cooking Vinyl on 16th June 2017

Alison Moyet’s ‘The Other Tour’ 2017

UK and Ireland dates include:

Cork Opera House (27th October), Dublin Olympia Theatre (28th October), Belfast Ulster Hall (29th October), Gateshead Sage (31st October), Glasgow Royal Concert Hall (1st November), Edinburgh Usher Hall (2nd November), Ipswich Regent Theatre (4th November), Reading Hexagon (5th November), Oxford New Theatre (7th November), Brighton Dome (8th November), Birmingham Symphony Hall (9th November), Southend Cliffs Pavilion (11th November), Cambridge Corn Exchange (12th November), London Palladium (14th November), London Palladium (15th November), Bournemouth Pavilion Theatre (16th November), Cardiff St David’s Hall (18th November), York Barbican (19th November), Liverpool Royal Philharmonic Hall (20th November), Manchester Bridgewater Hall (22nd November), Bristol Colston Hall (23rd November), Warwick Arts Centre (24th November), Nottingham Royal Concert Hall (26th November), Aylesbury Waterside Theatre (27th November), Southampton 02 Guildhall (28th November)

European dates include:

Oslo Rockefeller (3rd December), Odense Odeon (4th December), Stockholm Berns (5th December), Antwerp De Roma (7th December), Amsterdam Paradiso (8th December), Cologne Kantine (9th December), Berlin Huxleys Neue Welt (11th December), Hamburg Gruenspan (12th December), Aschaffenburg Colos-Saal (13th December), Karlsruhe Substage (15th December), Vienna SIMM City (16th December), Milan Fabrique (17th December), Zürich X-tra (19th December), Paris L’Alhambra (20th December)

Please visit http://alisonmoyet.com/ for details on tour dates in North America, Australia and New Zealand

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Text by Paul Boddy
2nd June 2017

TITÁN Featuring GARY NUMAN Dark Rain

1 June 2017 /

While Gary Numan has a much publicised new album ‘Savage’ in the works funded via Pledge Music, a number of collaborations with key figures like John Foxx and Jean-Michel Jarre were unleashed in 2016. 

But one of the best was with Mexican electro rockers TITÁN. The resultant track ‘Dark Rain’ was a brilliant slice of electronically assisted Gothic disco.

Propelled by a superb syncopated bassline and thunderous drums while layered with classic vox humana lines, interestingly the guitars on appear about two thirds of the way through before a magnificent burst of foreboding synth into the final chorus!

Numan himself is in good form, with calls that he’s “waking like wings upon your shoulder”. A new video directed by Gabriel Govela featuring all parties has been made and suitably rings the doom laden nature of the title, with Numan and friends bearing witness to the unsettling exorcism of a possessed woman.

‘Dark Rain’ comes from TITÁN’s well-received fourth album ‘Dama’, their first in a decade. As well as Numan, the album also features Siobhan Fahey of SHAKESPEAR’S SISTER and BANANARAMA fame on a number entitled ‘Hell.A’ which comes over a bit like a vampire themed variation of GINA X PERFORMANCE’s ‘Nice Mover’.

Meanwhile, songs with working titles of ‘If I Said’, ‘Mercy’, ‘I Heard A Voice’, ‘Bed Of Thorns’ and ‘My Name Is Ruin’ have been taking shape on Gary Numan’s new album, which is due out in Autumn 2017 on BMG and supported by a tour. He also recently received the Ivor Novello Inspiration Award for songwriting.

‘Dark Rain’ is from TITÁN’s album ‘Dama’ released by ATP Recordings

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.titantitan.mx/

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

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

Text by Chi Ming Lai
1st June 2017

FADER First Light

31 May 2017 /

‘First Light’ is the debut album from FADER a synth superduo (if you will) featuring Neil Arthur from BLANCMANGE and Benge, best known for his work with WRANGLER and JOHN FOXX & THE MATHS.

The obvious thing to do here is to compare ‘First Light’ with the last couple of WRANGLER albums and Benge’s work with John Foxx. What strikes immediately is that with Neil Arthur on board, this is a much softer and more melodic sound. Opening track ‘3D Carpets’ (inspired by Hunter S. Thompson’s ‘Fear & Loathing in Las Vegas’) evokes the early sound of THE CURE around the ‘Faith’ period, where analogue synths slowly started to permeate into the Crawley band’s sound.

Unsurprisingly there are no real drums here though, but there is something in the sound of ‘First Light’ that has an independent post-punk feel to it – JOY DIVISION can be heard in places too. At first glance, ‘Check The Power’ seems like a PUBLIC ENEMY-inspired title, but the lyrics soon reveal itself as a song written from the perspective of an Obsessive Compulsive Disorder sufferer. The musical soundbed is beautifully melodic, all interlocking monosynths and an LFO filtered bassline.

The repetition in Arthur’s lyric perfectly mirror the compulsive necessity to re-check the seemingly mundane objects in a house before leaving it, the door (is it locked?), the power (is it off?) etc. The use of the Linn Drum (which became iconic on THE HUMAN LEAGUE’s ‘Dare’ and early BLANCMANGE releases) helps gives ‘Check the Power’ its synthpop heritage which works perfectly here.

Whereas John Foxx and Stephen Mallinder’s vocals with Benge’s other projects are both deliberately dystopian and detached, Arthur’s here are refreshingly human and display a beautiful sensitivity and fragility.

The closest comparison would be with the YAZOO albums, arguably the first time that vocals with real emotion had been combined with cold electronics. ‘I Prefer Solitude’ is a case in point; centred around cyclical ‘Autobahn’ era KRAFTWERK monosynths, the song’s lyric “I’ve never been lonely, I prefer solitude” perfectly create the mental picture of someone that is quite happy with their own company and shuns socialising… possibly a metaphor for some synth players? Who knows?

Title track ‘First Light’ is a driving / pulsing song with the pitch-shifted echoed vocal sound that Robert Smith favoured on ‘Pornography’, maybe not as melodic as its predecessors, but still with enough subtle hooks to bear up to repeated listens.

Both ‘Liverpool Brick’ and ‘Launderette’ are drum-less tracks based around haunting synth parts, again displaying a human side to counterpoint the electronics featured throughout.

‘Guilt, Doubt & Fear’ is built around a hypnotic rhythmic bed which recalls ‘Warm Leatherette’; its three note descending synth part is pared down to an absolute minimum and provides a perfect backing for the song’s more improvised ARP Odyssey-sounding lead. At only 2 minutes 45 seconds, the song leaves you wanting more which can only be a good sign…

This is undeniably one of the strongest albums that Benge has featured on in recent years; the combination of Arthur’s kitchen sink drama vocals with a cold, but melodic synth underscore has created (in places) something truly magical.

There are plenty of stand-out tracks to revisit here and fans of synthpop will find much to adore. The only criticism that could be levelled is the lo-fi vocal production doesn’t always do Arthur’s vocals utmost justice, but for those seeking a sound which harks back to that of Daniel Miller’s THE NORMAL and the first incarnation of THE HUMAN LEAGUE, this is hard to beat.

‘First Light’ is released by Blanc Check Records on 23rd June 2017 in CD, vinyl LP and download formats, pre-order from https://fader.tmstor.es/

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Text by Paul Boddy
31st May 2017

KITE BASE Latent Whispers

28 May 2017 /

KITE BASE comprise of two bass guitars, electronics, a Tempest drum machine named Alan and the haunting vocals of Kendra Frost.

Defined as: “One of the main starting points found in origami, an opening move made with simple folds to generate a firm and fertile foundation for creativity. It can become whatever you want it to be- simple or complex- based on the imagination of the creator, inspiration and chance”, KITE BASE started as a side project of SAVAGES bassist Ayşe Hassan.

While that quartet’s sound is distinctly conventionally driven, their association with TRENTEMØLLER has seen the band’s various members experimenting with technologically derived textures, notably on a remix of ‘Surrender’ and Jehnny Beth’s collaboration ‘River In Me’ for the Danish producer’s solo album ‘Fixion’. And now comes KITE BASE’s debut longer player Latent Whispers’.

Beginning with the wonderfully hypnotic ‘Transition’, the juxtaposition of rhythm machine and sequenced blops with rugged melodic four string inevitably recalls NEW ORDER. It’s a fine slice of modern gothic that captivates thanks to Frost’s forlorn voice. It is also undoubtedly the album’s highlight.

The appropriately named ‘Dadum’ is more steadfast with the cacophony of voices and bass noise fused into a cascading wall of sound. The stuttering ‘Blueprint’ provides a backdrop for buzzing synths and pronounced bass motifs, while the moody ‘Erase’ with its unusual rhythmic template of claps and flat toms is kept minimal, allowing Frost’s vocals to flourish.

On ‘Soothe’, Frost and Hassan offer plenty of feisty energy, tribal percussive mantras and deep programmed bass; it’s moody although less obviously electronic than ‘Transition’.

Synthetic percussion shapes ‘Peripheral Vision’ while with a penetrating live feel, ‘Nineteen’ makes more of the gritty scissored bass action. The even livelier ‘Grids’ exudes a percussive rumble that JOY DIVISION would be proud of. However, ending with ‘Miracle Waves’, it is a shame that the more transient and superior single remix version isn’t included.

While there’s room for further development within their twin bass guitar / electronic mix, ‘Latent Whispers’ acts as a promising first salvo to showcase KITE BASE and particularly the vocal presence of Kendra Frost. And with Frost’s appearance on a number of tracks for THIS MORTAL COIL studio legend John Fryer and his BLACK NEEDLE NOISE project, it’s a good job done.

‘Latent Whispers’ is available as a CD, vinyl LP and download via https://kitebase.pmstores.co/

http://kiteba.se/

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Text by Chi Ming Lai
28th May 2017

DAILY PLANET Play Rewind Repeat

26 May 2017 /

DAILY PLANET came into being when two Swedes, Jarmo Ollila and Johan Baeckström decided to form a synthpop band in 1994.

Having released two noteworthy singles and a long player two years later, the band stopped with few promises of albums never quite materialising. Surprisingly eighteen years on in 2014, the duo brought out an excellent comeback with ‘Two’, released by Progress Productions, home of the highly acclaimed KITE.

Neither of the two gents rested on their laurels however, with Baeckström bringing out his debut solo outing ‘Like Before’ shortly after. With the very obvious connotations to ERASURE and their sweetly synthesised gems, ‘Like Before’ sounded grown up and optimistic, proving that he could hold the notes as well as Ollila, sounding like Andy Bell himself in places.

But now DAILY PLANET are back with another surprising opus, which will turn heads and make folk reach for their dancing shoes. ‘Play Rewind Repeat’ hits straight up with ‘Goodbye Late Nights’, which doesn’t shy from using Clarke / Bell sound signatures, but as James Nice of the prestigious Belgian record label Les Disques du Crépuscule once put it: “I have no problem at all with something new being imitative, as long as it’s good”.

More thought provoking is ‘Grains Of Sand’ with its immaculate tempo changes and ‘Fire In Me’, which is reminiscent of the early works of DEPECHE MODE. The title ‘Set Me Free’ to any self-respecting DEPECHE MODE fan will bring back memories of the B-Side to ‘Master And Servant’, but here it is faster and happier. And no, it’s not a cover. The mindful ‘Drown’ calms things down with elaborate synth masterdom and almost filigree textures in the production.

Cult British New Romantic act WHITE DOOR make an appearance on ‘Heaven’, with Mac Austin lending his vocal. The singer himself expressed his gratitude for the opportunity, saying that he was “so honoured to sing for my talented friends on this wonderful track”. Musically, this is an eclectic mix of the best of what the synth era has achieved; uncomplicated but very poignant, very DURAN DURAN.

‘Why’ is a bit A-HA, and with that, rather superb. No need for the time machine to go back thirty years. It’s ERASURE meets early DM, with an amazing amalgamation of analogue. The sweetest ‘Over Water’ exhibits elements of CAMOUFLAGE and the shine of ‘Silver Moon’ expands itself with wonderfully warm vocals and lovely musicality.

While ‘Tranquility’ isn’t tranquil at all, ‘Vicious Circle’ alludes to “going backwards in time”, which is a very fitting statement for the entire album. The long player is closed with the dreamy ‘Weeping’, which sits supremely between PET SHOP BOYS and DM, and it wraps up the “time machine experience” beautifully. Time to rewind…

‘Play Rewind Repeat’ is simply what it says in the tin; you’ll play, you’ll rewind and you’ll certainly repeat, with the moods lifted and your feet sore. So what if it reminds you of certain ERASURE, DM or YAZOO tracks? Johan Baeckström certainly doesn’t mind the comparisons.

Chatting to ELECTRICITYCLUB.CO.UK last year, he said that “In my book, the two YAZOO albums are the pinnacle of electronic pop. It can’t get any more perfect than that”, adding “I can still remember exactly where I was when I first heard ‘Nobody’s Diary’, which was the song that opened a whole new world of synthpop for me. I think it’s only natural that this reflects in my own music and it is, by far, the most common comparison people make, which of course is flattering”.

The good memories are continuing, with new ones being built upon this capable production. DAILY PLANET, we are loving having you back!

‘Play Rewind Repeat’ is released by Progress Productions in CD and download formats, available from http://progress-productions.com/

https://www.facebook.com/dailyplanetband/

Text by Monika Izabela Trigwell
26th May 2017

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