Category: Reviews (Page 39 of 199)

HELIX Bad Dream

5 November 2021 /

Shakespeare posed the question “If music be the food of love…” and over the course of popular music numerous couples have released work. From Ike & Tina Turner to Chris & Cosey through EURYTHMICS and more recently our own VILE ELECTRODES and WITCH OF THE VALE, all have shown what can be achieved if partners do more than spend their evenings watching ‘Love Island’ (let’s not mention John and Yoko though…)

Another romantic pairing who have released music are Tom and Mari Shear under the name of HELIX. Their 2018 debut ‘Twin’ was one of the highlights of the year and they have now returned with a new EP, ‘Bad Dream’.

Tom of course is well known from his band ASSEMBLAGE 23 who have been leading lights on the EBM / Industrial scene for some 20 plus years and he brings the muscular instrumentation and production from that project to HELIX but with a number of twists that will raise a few eyebrows.

All of this underpins the new Mrs Shear’s frankly spectacular voice which has been heard across numerous collaborations from her new husband’s SURVEILLANCE release to guest vocals with, to name a few, COMADUSTER and IVARDENSPHERE. More on those vocal skills in a moment…

Opening with the energetic ‘Run’, which picks up from where the ‘Twin’ album left off, this acts as an excellent appetiser for what’s to come. A fine danceable pop infused number, this will no doubt go down a storm not only in a club setting but also in the set at the, currently, infrequent HELIX live outings. Mari easily harmonises with herself in the layered vocals on the chorus to wonderful effect.

One of the great things about any side project is it gives the opportunity to try new things musically and this is evidently the approach taken on the next few tracks by Tom himself. ‘Slip’ opens with a laid-back percussion track underpinning effected samples leading into verse which sensibly allows the vocal to carry the thrust of the track.

As previously stated, I think Mari has one of the best female voices on the scene and this is proven on this track which allows her to be heard without swamping with unnecessary processing.

‘Kill The Unknown’ further allows Mr Shear the scope to do new things musically. This moves into almost ‘indie’ territory with live drums and, gasp, guitars courtesy of multi-instrumentalist Elias Black. These add an expected texture and bite to the track and shifts HELIX in another direction entirely.

Closer ‘Bad Dream’ is a brooding slice of electronica with an almost metal chorus which drops in and out of the arrangement that hinges around a frantic drum track. The accompanying remix included on the EP by MESH frontman Mark Hockings is actually my preferred version, again the ‘dancier’ mix will go down a storm in a club and the mix further highlights Mari’s great vocal take.

Closing the tracklist out is a mix of ‘Run’ by ex-IRIS member Andrew Sega under his HALLOWED HEARTS moniker. This is an almost goth interpretation with chiming guitars and a straightforward 4/4 drum track. Again, this version underlines how well this song will go down in a club set.

In the second part of Shakespeare quote at the top of this article he asks that we “play on”. On the strength of both the earlier album and this all too short EP, we can but hope that Mr and Mrs Shear do just that, there is much here to feed even the hungriest of souls.

‘Bad Dream’ is available as a digital EP from https://helix.bandcamp.com/album/bad-dream

https://www.facebook.com/HelixElectronic

https://open.spotify.com/album/6Qth7TB3nPqWlvPIxgrnne

Text by Ian Ferguson
5th November 2021

DLINA VOLNY Dazed

3 November 2021 /

The political tensions in the former Soviet republic of Belarus have created a climate where artistic expression exudes a more prominent dystopian austere than in many other places.

Leading this are Minsk post-punk trio MOLCHAT DOMA but following not far behind are DLINA VOLNY; comprising of singer Masha Zinevitch, bass guitarist Vad Mikutski and Ales Shishlo on keyboards, unlike their bilingual debut ‘Mechty’ from 2018, their second album ‘Dazed’ is entirely in English. Released by their second album ‘Dazed’ and Italians Do It Better, it is a cinematic Autumnal statement that sounds as if The Cold War never ended.

The songs deal with the fragile reality of life and ‘Dazed’ opens with the title track, its icy cascading mood, served with the resigned contralto delivery of Zinevitch, possessing a sparkling textural quality worthy of the Italians Do It Better house sound. ‘I’m Not Allowed’ sounds bouncy in comparison, the bright synth arpeggio sounding odd but effective within a musical backdrop resembling WHITE LIES, while ‘Do It’ features an infectious swirl of electronics as well as a simple chanty chorus.

DLINA VOLNY’s reinterpretation of Madonna’s ‘Hollywood’, which appeared on their label’s recently issued tribute collection, alternates a detached deepness with an unexpected pop register that presents the song as a harsher warning to those seeking stardom.

Closer to home, the chilling darkwave of ‘Whatever Happens Next’ acts as protest song calling for solidarity and freedom. Exploring that haunting Eastern Bloc resilience further with a dance beat, ‘Bipolar’ is outstanding and asks “what is it like being on the border?”.

Despite its sinister overtones, the partly spoken ‘Redrum’ embraces a deviant sexiness like a song for the soundtrack of ‘Atomic Blonde’ where “the end is just another beginning… goodbye!”. The call for ‘Freedom’ sees stark bass guitar lines marked by harsh strums to shape a cavernous gothic grandeur.

Not a cover of their labelmate’s CHROMATICS best known song, ‘Shadow’ embraces THE CURE like a funereal paced ‘Fascination Street’ and certainly there is that air of disintegration. ‘Slowly’ is cut from a similar black cloth while the grim perspective presented on ‘Matte’ is only offset by shiny synths. Recalling ACTORS, ‘Tomorrow’ ends with the Minsk threesome’s own take on dysfunctional post-post-punk disco.

Mixed by David Lynch associate Dean Hurley, ‘Dazed’ is bleak and tense but most of the tracks have a cool appealing air of mystery. The murky atmosphere does not forsake melody or hooks and the second language expression provides a seductive allure as the anxious suffocation of the system is countered by a profound breath of hope.

Despite the collected feelings and situations, DLINA VOLNY are less jarring than MOLCHAT DOMA so may have a broader crossover potential… yes, maybe these Belarusians do it better.

‘Dazed’ is released by Italians Do It Better on 5th November 2021, available from https://dlinavolny.bandcamp.com/ or pre-save at https://idib.ffm.to/dazed

https://italiansdoitbetter.com/dlina-volny/

https://www.facebook.com/dlinavolny

https://twitter.com/volny_dlina

https://www.instagram.com/dlina_volny/

Text by Chi Ming Lai
3rd November 2021

FIAT LUX Twisted Culture

1 November 2021 /

Lost but found, before 2019, there were no FIAT LUX albums but there is now a third.

Reflecting the weightier matters of the world, ‘Twisted Culture’ is about “living life as best you can, no matter what is thrown at you” according to the nucleus of Steve Wright and David P Crickmore. Their only previously released body of work had been the six song ‘Hired History’ EP in 1984 on Polydor Records. The lack of a hit single saw their intended debut album ‘Ark Of Embers’ short-sightedly shelved by the label in 1985. However, Cherry Red came to the rescue and issued a double CD package containing both works in 2019.

This coincided with the release of ‘Saved Symmetry’, an album of completely new 21st Century material recorded after FIAT LUX reformed to celebrate the 35th anniversary of their formation. Despite the worldwide pandemic, FIAT LUX kept busy recording the follow-up, with Will Howard taking over as the third FIAT LUX member on sax and woodwinds from the sadly missed Ian Nelson who passed away in 2006.

The bittersweet ‘(How Will We Ever) Work This Way’ opens ‘Twisted Culture’ with some catchy grown-up new wave disco although lyrically, it captures the zeitgeist. Building towards a burst of slinky sax from Will Howard, ‘Cul De Sac’ uses a sparse arrangement for its colourful backdrop.

Unusually for FIAT LUX, ‘Basement City Living’ is something of a frantic avant dance adventure which swirls, wobbles and even features a drop! There’s unsettling pitch shifted voices lingering too but when Crickmore’s bass signature kicks in, despite the unorthodox backing and Wright’s spoken and screamed contribution, this can only be FIAT LUX.

As a possible relative of ‘Basement City Living’, ‘Tighter’ uses similar pacey electronic qualities although is more fully formed as a song, possessing both rock accents and trancey gothic moods. It’s odd but enjoyable for those who “only came here for fun”. At the other end of the spectrum with predominantly piano and clarinet, ‘The Night We Should Have Met’ is a classic Olde English FIAT LUX ballad with a wonderful Barber shop quartet round to finish.

With its pulsing bass, synth sweeps and E-Bow in the vein of one-time FIAT LUX producer Bill Nelson, ‘Hope’ is a glorious set-piece over seven minutes. Bubbling with vintage synth, ‘It Wasn’t Supposed To Be Now’ is another number in the classic FIAT LUX vein, all uptempo with a chorus reminiscent of Marc Almond and Frippish guitar solos, although all that tension is offset by bursts of slinky sax.

Sax led and adopting a steadfast drum machine backbone, ‘Breathe You In’ offers a sensitive love ballad before continuing at a similar pace, ‘This Is Your Lifetime’ sees acoustic guitar and Bansitar combine for a muzakal song of hope. With a warm harmony of voices, it ends the album on an encouraging note despite the ‘Twisted Culture’ of the past few years.

Those who enjoyed ‘Saved Symmetry’ will appreciate ‘Twisted Culture’. Meanwhile those who were less enticed by its emphasis on mood may find the more uptempo and experimental numbers that feature on its successor appealing enough to return to the distinctly different path of FIAT LUX. In many ways, ‘Twisted Culture’ is the stronger and more varied collection.

‘Twisted Culture’ is released by Splid Records through Proper Music Distribution on 5th November 2021 in CD and digital formats, pre-order from https://www.propermusic.com/

http://www.fiat-lux.co.uk

https://www.facebook.com/Fiatluxofficial

https://twitter.com/fiatluxofficial

http://www.splidrecords.co.uk

Text by Chi Ming Lai
Photo by Andy Hollingworth
1st November 2021

ALI RENAULT Nawce Blizzard

29 October 2021 /

Margate-based producer and DJ Ali Renault has been releasing music since 2003, but he is perhaps best known as being a member of the Italo-flavoured electronic pop duo HEARTBREAK with Sebastian Muravchik.

After HEARTBREAK went into hiatus in 2011, Ali Renault released his debut self-titled album and has since followed up with a variety of dance 12” singles and EPs including on his own Cyber Dance Records and Vivod imprint. With HEARTBREAK having reformed and set to release a second album in 2022, he releases ‘Nawce Blizzard’ in memory of the late Chester DJ Pete Mangalore with whom he co-founded the Human Shield Record Company.

On the opener ‘Northdown Acid’, a sinister bass pattern penetrates in sync with dirty phat beats within a grey-stoked backdrop. While faster paced, ‘Imminent Salad’ is less intense and exhibits more of a club groove with spacey strings providing atmosphere and texture. But with an elegiac ambience, ‘Peter Summoning’ is Ali Renault’s musical tribute to his late friend.

Deeper in mood, the lengthy ‘Forbidden Mind’ moves in slower motion but having played this 33RPM release at 45RPM by accident, it actually kicks quite well at the faster tempo like Lil’ Louis!!! Reverberating with a pulsing hypnotism, ‘Nawce Blizzard’ presents an electronic chill as the title suggests over stuttering rhythms, but the infinite motorbike engine in the run-off groove will catch listeners out… only it’s not a motorbike but a pitch shifted cat purr!!

Ali Renault said “It’s been an emotional ride getting this together and feels right to be drawing a line under it finally…”

An absorbing mini-album of IDM, ‘Nawce Blizzard’ is adorned with charming foggy windswept imagery that illustrates its contents, a respectful beat-driven reflection and remembrance of a departed friend.

‘Nawce Blizzard’ is released by Vivod as a 12” vinyl EP and download, available from https://www.phonicarecords.com/product/ali-renault-nawce-blizzard-ep-vivod/176708

Digital variant available at https://alirenault.bandcamp.com/album/nawce-blizzard

https://www.facebook.com/Ali-Renault-134906283231577

https://twitter.com/VivodAli

https://www.instagram.com/ali_renault/

Text by Chi Ming Lai
29th October 2021

UNE Spomenik

27 October 2021 /


Mark Radcliffe and Paul Langley are the North West English electronic duo UNE.

While producer and Haçienda veteran Langley was signed to Rob’s Records, Radcliffe is best known as a respected BBC broadcaster who currently presents ‘The Folk Show’ on Radio2; but despite this, the Lancastrian has always championed the likes of NEW ORDER, PET SHOP BOYS, THE CHEMICAL BROTHERS, UNDERWORLD and ORBITAL on his more mainstream radio stints with Stuart Maconie and Marc Riley over the past 30 years, so was looking for a new musical challenge after years of writing on acoustic guitar.

Radcliffe and Langley met in a pub in Knutsford and began walking their dogs together, bonding over Manchester City and Factory Records. Langley became Radcliffe’s DJ tour manager and in their downtime, Langley played Radcliffe his electronic sketches and imagining a different film for each song, he came up with lyrics.

Their debut album ‘Lost’ was released in 2019 and following on as a natural musical progression, their second album ‘Deux’ was issued only a few months ago; its opening track ’Devilled’ featured bluesy guitars, funky drum loops and legendary punk-poet John Cooper-Clarke while there was also pumping club numbers such as ‘Gemini’, ‘Folie’ and ‘Grandmaster’.

But their third album ‘Spomenik’ is quite different, described as “a solid stark electronic album, still maintaining melody amongst the machines”. Using the Serbo-Croat word for “Monument” as its title, but referring to monoliths specifically commissioned by Marshal Tito in the former Yugoslavia, the icy album is inspired by these mysterious brutalist structures built under the spectre of the Cold War, one of which adorns the front cover artwork.

In a departure for UNE, ‘Spomenik’ is issued by Spun Out Of Control, a boutique music label specialising in actual and imagined synth-based soundtracks from new composers such as Hattie Cooke who released her instrumental suite ‘The Sleepers’ through them.

Primarily instrumental in concept, the 11 tracks comprising ‘Spomenik’ are presented as a seamless listening experience.

Following an intimidating ‘Opening Fanfare’ from an Cold War era Eastern Bloc broadcaster, with a melody straight out of the OMD hook book, ‘Podgarić’ could be outtake from ‘Dazzle Ships’ although Radcliffe’s boxed vocal identifies that it isn’t.

‘Kozara’ perhaps points to the more dreamlike instrumental tones of 808 STATE crossed with KRAFTWERK. But the Cold War tension of the album comes to the fore with ‘Kadinjača’, something that the starkly treated vocals with references to The Doomsday Clock and the chilling melodic presence particularly hammer and sickle home.

Meanwhile, the spacey moods of ‘Ostra’ act as an extended interlude in the manner of Klaus Schulze while ‘Niš’ offers more of a dramatic Vangelis presence before ‘Barutana’ enters more midtempo territory with “abstract expressions”. But in an about turn, ‘Kosmaj’ is much sparser with a gentle cacophony of electronics progressing into a beautiful run of arpeggios and understated rhythms reminiscent of METROLAND or KOMPUTER.

With “futures misunderstood” and what “the machine dictates”, ‘Tjentište’ is inherently gloomy with a sombre melody and resigned vocals. A more minimal and short reprise of ‘Podgarič’ comes before it all concludes with a ‘Closing Fanfare’.

‘Spomenik’ is an intriguing autumnal blend of OMD, KRAFTWERK and Haçienda-era club music that reflects the anxieties and moralities from a time not that long ago, but which are making their presence felt again in the world’s political landscape. Abstractly expressionistic like the monuments the album celebrates, while Radcliffe’s vocal expression might not be to everyone’s taste, the emotive synthetic backdrop cannot be faulted.

‘Spomenik’ is released by Spun Out Of Control as a silver or permafrost splatter vinyl LP and download, available from https://spunoutofcontrol.bandcamp.com/album/spomenik

https://www.unemusic.com/

https://www.facebook.com/wereUNE

https://twitter.com/weareUNE

https://www.instagram.com/weareune/

Text by Chi Ming Lai
27th October 2021

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