Category: Reviews (Page 47 of 199)

LAURA DRE Moving Spaces

6 July 2021 /


With a fascination for yesterday’s tomorrow, German Filipino songstress and musician Laura Dre presents her solo debut album ‘Moving Spaces’, a collection themed around the traumas of unrequited love.

Laura Dre was formally the front woman of electro-rock combo VINYL BLACK STILETTOS whose second EP ‘Electrical’ was produced by PET SHOP BOYS programmer and engineer Pete Gleadall,

‘Moving Spaces’ sees a return in the studio with her previous co-producer Robert Harder whose credits have included David Byrne, Brian Eno and Neneh Cherry.

Her mix of modern synthpop and synthwave anthems coupled to her deep nonchalant vocals capture the rainy dystopian air of ‘Blade Runner’, but there a sexy enigmatic allure and a mischievously wired groove that wouldn’t go amiss in a West Berlin nightclub scene from the Cold War spy flick ‘Atomic Blonde’. While there are darker tinges compared to her contemporaries, ultimately ‘Moving Spaces’ IS a pop record and an entertaining one.

‘Interlude: Utopia’ is an opening instrumental that sets out the album’s intentions, being rhythmic, atmospheric and melodic. The following love ballad ‘Loving You Is A Beautiful Sin’ touches on the lyrical gist covered in David Sylvian and Ryuichi Sakamoto’s ‘Forbidden Colours’, chugging with sombre bass pulses counterpointed by digital chimes and washes of sweeping synths. With her expressive contralto voice, this is everything SAY LOU LOU should have been but weren’t.

With a gallop, ‘Pulse & The Drive’ is punctuated by vintage digital drums as our heroine melts into the backdrop. Hitting some wispy higher notes while the keys provide the diamond cuts, the dreamy ‘Moving Spaces’ showcases some glistening electronic pop capturing a wonderful nocturnal atmosphere and a subtle euphoria.

Perhaps autobiographical in its longing for the unobtainable, ‘Ice Maiden’ presents an even punchier triplet while blippy swirls add to the song’s windswept aesthetic. ‘I Wanna Be Your Only One’ sees Laura Dre bear her soul following the unrequited love theme of the album, expressing a desire for a partnership that breaks the rules, declaring “We could be Bonnie and Clyde”.

The glorious uptempo disco number ‘All Day, All Night’ offers great crossover potential; drenched in sparkle and a delicious percussive base, it’s one for fans of early PET SHOP BOYS, complete with a classic Tennant / Lowe styled instrumental middle eight.

‘I Opened My Eyes’ adopts a more archetypical synthwave approach although the vocal register is unexpectedly upped to a wispy soprano in the harmonies. Meanwhile, the metronomic drive of ‘If Looks Could Kill’ could easily be reimagined as a rock number and used in a Brat Pack film montage although the bass backbone here is perhaps a little too hazy to achieve the desire impact.

Beginning with a more subtle Sci-Fi backdrop, ‘Superficial Cyberlove’ springs a total surprise by morphing into a desolate EBM-inspired climax.

With superb icy strings penetrating the core, the ‘Blade Runner’ inspired story about relationship involving “a human and a cyber android incapable of developing feelings” highlights how in this modern world, the convenience of machines can never replace the intimacy of face-to-face contact.

‘Moving Spaces’ is an impressive debut musical statement from Laura Dre, offering a cooler take on synthwave influenced pop forms that positions her between the alluring sophistication of Nina and the gothier overtures of Kat Von D.

‘Moving Spaces’ is released by Outland Recordings on 9th July 2021 in CD, blue vinyl LP, cassette and digital formats, pre-order from https://hypeddit.com/link/fal543

https://lauradre.com/

https://www.facebook.com/lauradreofficial

https://www.instagram.com/lauradre/

https://twitter.com/LauraDreMusic

https://www.twitch.tv/lauradreofficial

https://soundcloud.com/lauradre

https://www.youtube.com/channel/UC-i6CW5oGLsKIOOIHV9sEHA/

https://open.spotify.com/album/4Pk6NQVqNR0blHHoNxvZrT

Text by Chi Ming Lai
Photo by Wiebke Kreinick
6th July 2021, updated 9th July 2021

CLASS ACTRESS Sense Memory

4 July 2021 /

Brooklyn’s CLASS ACTRESS was originally conceived as a synth driven alternative pop trio comprising of Elizabeth Harper, Mark Richardson and Scott Rosenthal, producing the debut ‘Journal Of Ardency’ EP and 2011’s ‘Rapproacher’ album.

After the band dissolved, the now solo Harper adopted CLASS ACTRESS as a nom de théâtre, issuing a mini-album ‘Movies’ in 2015; this six track collection had Giorgio Moroder as an executive producer and featured the ‘Bizarre Love Triangle’ aping ‘High On Love’, the Jam & Lewis tribute ‘The Limit’ and the synthwave flavoured ‘More Than You’.

But since then, there has been silence. A brand new single ‘Dark Dopamine Ceremony’ broke the disquiet in late 2020 and created anticipation among CLASS ACTRESS’ fanbase. Then Elizabeth Harper surprised all by reuniting with original member Mark Richardson and releasing a new EP ‘Sense Memory’ which featured three cover versions that highlighted the diverse interests that occupy her musical headspace.

Using a gorgeously nonchalant delivery, THE SMITHS ‘Ask’ kept some of its six string but was turned into dancey synth indie reminiscent of NATION OF LANGUAGE with the “buck-toothed girl from Luxembourg” now amusingly turned into a buxom one… ooh Matron! Take them away!

Meanwhile, self-referencing a previous CLASS ACTRESS single from 2011 in a cover of THE WEEKND, Harper maintained the expletives on ‘The Hills (Bring On The Weekend)’ and came over like a soprano MARINA & THE DIAMONDS entering the sinister climes of ‘Twin Peaks’! Then MAZZY STAR’s husky contralto ballad ‘Fade Into You’ found its countrified feel wonderfully twisted by droning synths, rigid mechanical rhythms and an icy string machine.

But since its original release in March, ‘Sense Memory’ has been expanded with the new self-penned songs ‘Airwaves’ and ‘Saint Patrick’ to add even more value. The percussive ‘Saint Patrick’ features some infectious synth hooks while Harper’s richly passionate vocal over some strident keyboard work combine like Nerina Pallot fronting BOY HARSHER for a brilliant slice of modern electronic pop. More atmospheric, ‘Airwaves’ doesn’t disappoint either and is set around a bed of cascading synths and a hypnotic rhythmic backbone in a more rigid take on the airs and graces of CHROMATICS.

The expanded ‘Sense Memory’ heralds the welcome return of CLASS ACTRESS to continue developing on the talent that was first showcased on ‘Journal Of Ardency’ and once championed by Giorgio Moroder. With so many independent women now finding solace in synthesized self-expression such as MECHA MAIKO, DANZ CM and GLITBITER, Elizabeth Harper has found the perfect time to be making music again.

‘Sense Memory’ is released by Terrible Records, available as a download direct from https://terriblerecords.bandcamp.com/album/sense-memory

https://classactress.com/

https://twitter.com/CLASSACTRESS

https://www.instagram.com/classactress/

https://open.spotify.com/album/0ftgcEBGdn2LWCvP2RHxS4

Text by Chi Ming Lai
Photos by Benjy Russell
4th July 2021

GARY DALY Don’t Give Up, Dummkopf!

30 June 2021 /

With its striking Valentina Tereshkova adorned artwork, ‘Luna Landings’, the second solo album by CHINA CRISIS’ Gary Daly was an affectionate memory of yesterday’s tomorrow and a must for synth instrumental enthusiasts.

Although well-known for his distinctive afflicted voice, Gary Daly was also the synth player of CHINA CRISIS. As well as song, understated soundscapes and passive rhythms were also part of the appeal. Using a Roland Jupiter 8, Korg Poly6, Yamaha CS10, Roland SH9, Roland TR808 and Boss Doctor Rhythm DR55, Gary Daly said the collection was “a little nod there to Brian Eno’s ‘Apollo: Atmospheres & Soundtracks’”.

Many of the tracks on ‘Luna Landings’ began as demos and sketches back in the day, with the view of being turned into CHINA CRISIS songs or used as B-sides in the manner of ‘Dockland’, ‘Forever I & I’ and ‘Watching Over Burning Fields’. Despite the age of the recordings, the air and hiss from the incumbent machinery added an endearingly earthy quality to proceedings.

With its dominant percussive snap within the windswept lo-fi ambience, the track ‘Dummkopf’ has been segued into the spacey moods of ‘And When Did You Give Up… And Why?’ to be given an absorbing colourful video treatment by Scott Spencer and John Brown.

Presented as ‘Don’t Give Up Dummkopf’, Spencer and Brown had worked together on the video ‘Ill Fit’ for the Liverpudlian art pop band WAVE MACHINES; incidentally, the former once made a bootleg CHINA CRISIS T-shirt for a home economics project at school and first met Gary Daly in 2008.

The story behind the video goes: “’Don’t Give Up, Dummkopf!’ was made as the coronavirus is shaking up the globe, throwing up everyone and everything with it. Those who can suit up to protect themselves. In the turbulence our trajectory is knocked off course, warnings are ignored, setting off a chain of system failures. Now adrift in the sea of time and space, we scramble about to chart a new course.”

It continues: “A race began to discover a vaccine. Away from the multibillion-dollar corporations, in a flat in Liverpool, scientists were reappraising Douglas Trumbull’s groundbreaking ‘star gate’ work on Californian phenotype mutations. The scientists derived new nonlinear techniques from Trumbull’s original work. In the lab they applied the new strains to sounds made by Gary Daly, producing positive results. Trials saw affect display score high. We are now able to share our results with you.”

‘Dummkopf’ and ‘And When Did You Give Up… And Why?’ feature on the album ‘Luna Landings’, available as a CD direct from https://www.musicglue.com/gary-daly/products/luna-landings-cd

https://www.facebook.com/chinacrisisofficial/

https://www.instagram.com/garydalymusic/

Text by Chi Ming Lai
30th June 2021

KNIGHT$ Boom Bang Boom!

26 June 2021 /

KNIGHT$ is back with a new Britalo anthem and it comes with a ‘Boom Bang Boom!’

Written in lockdown and with his plans for live work put on hold, by his own admission, ‘Boom Bang Boom!’ was a song he could hold back any longer. With thunderous electronic drums, brassy synth, and a big chorus, it’s a number that does as the title suggests as a much needed blast of optimism.

As an extra treat to the lemon-coloured release bundle, prolific German producer Mirko Hirsch extends the title cut, while Italo disco legend Alexander Robotnick presents his treatment of the KNIGHT$ live favourite ‘Alligator’.

The video for ‘Boom Bang Boom!’ is a fun take on ‘Avenue Q’, the hilarious ‘Sesame Street’ inspired comedy show which featured the song ‘The Internet Is For Porn’ and sees our hero handling his shaded puppet alter-ego Little Jimmy.

James Knights chatted to ELECTRICITYCLUB.CO.UK about keeping himself artistically motivated in these difficult times for all…

How did ‘Boom Bang Boom!’ come about? How challenging has it been creatively this past year?

I finished the track last summer, and it just came through on a day when I was more focused than usual with a clear idea of what I wanted to hear. I didn’t know a lot about it actually, just divine intervention smacking me round the chops!

How did you choose the release bundle’s remixes?

I’ve been an admirer of Mirko Hirsch’s stuff since I first heard his music on Will Reid’s ‘Club 80s’ show. I love his attention to detail and how his mixes ooze the best kind of romantic nostalgia. I wanted to try something with him for a long time, but we were always too busy with other projects! It’s great to finally be able to collaborate.

I worked with Also Playable Mono and Ant People on my ‘Dollars & Cents’ remix album last year, so it’s great to be back with them too. They both have a slightly more modern feel but bring something equally as dancefloor worthy to the mix.

And finally I was able to add Alexander Robotnick. I was DJing his songs about 15 years ago at parties in my hometown and he always brought the house down! It’s funny, but this remix of ‘Alligator’ narrowly missed being on my remix album, in fact, it’s 2 years old, but it was well worth the wait to press it to vinyl and complete the package. It’s such a great Italo house mix, exactly what I’d hoped for.

You’ve always had a good connection with your fan base and completed the video of ‘Boom Bang Boom!’ with one of them, are you happy with the result?

Absolutely! I had this initial idea which involved a lot of cutting, sticking and gluing to get it off the ground. Now I have a black belt in arts and crafts! You’ll see when we release it, but the concept is unique. With the help of a friend I managed to hand over my edit, and he added the necessary finishing touches. Just wait til you meet Little Jimmy…

You did some online streamed gigs, what were the challenges of the various platforms available to do this, the pros and cons? Will you do it again?

We did Easter and Christmas shows online last year – the first one went out via Facebook, and the second was more of a request show where we sent the videos to the fans. I liked the latter of the two as it was more personal and exclusive, but yeah… this is the longest break from live shows I’ve ever had. I miss seeing everybody!

What are you plans and hopes for the future, if you are able to make any? Have your priorities altered at all?

I’m busy putting together a new EP for release later in the year, which will hopefully be released alongside playing some live shows! Since the ‘Dollars & Cents’ album came out I’ve been invited to sing on several new productions with up and coming artists. I’ve loved doing that, and having the freedom of singing on another person’s track has been an eye opener. There will also be a new BOYTRONIC record in 2022. We’re working on that slowly because we can’t get together so easily with Holger in Berlin, but what we have so far sounds promising! No matter what’s happening, my plans are always to keep making music.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to James Knights

‘Boom Bang Boom!’ is released by Specchio Uomo as a yellow 12 inch vinyl EP and download, available from https://knights101.bandcamp.com/

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http://knightstore.bigcartel.com

Text and Interview by Chi Ming Lai
26th June 2021

SOFTWAVE System Failure

24 June 2021 /

In these tense times, Danish synthpop duo SOFTWAVE have sensed a ’System Failure’…

Describing the feelings of frustration arising from small room isolation with just a computer for company, Catrine Christensen and Jerry Olsen present their new single ’System Failure’. It touches on how people all over the world have become dependent on computers more than ever before due to the pandemic crisis.

But when that system fails, some may have difficulty controlling their anger as depicted in the song’s video. As they “restart and synchronize in harmony”, Thor’s hammer is brought into action to prevent overload. It is all in an effort to maintain an equilibrium between interconnecting with others via computers and actually mixing in person.

Following a comparative creative hibernation since opening for OMD in early 2020, SOFTWAVE chatted to ELECTRICITYCLUB.CO.UK about the best ways to deal with a ‘System Failure’…

Art reflects life and that’s exactly what SOFTWAVE have done with ‘System Failure’?

Catrine: Definitely! To begin with, it wasn’t supposed to relate to Covid and lockdowns. But what to do when that’s the reality while you are writing the song. The main message in the song is how much addiction to computers these days can pull some people away from socialising physically with others.

The modern way of living. It’s up to the listener to decide how they want to relate to the song. I believe it can go in many different directions.

You’ve not gone acoustic or rockabilly or anything, is ‘System Failure’ a natural progression of the ‘Game On’ album?

Jerry: Acoustic and rock isn’t really my thing. I like it synth! *laughs*

As something completely new, Catrine suggested to me to record my voice and make it sound robotic. So I vocodered it. That was fun.

Catrine: Yeah! I remember we both were having a laugh when you removed the effects and played your clean vocal – very KRAFTWERK-ish *laughs*

‘System Failure’ was planned to be part of the new album, but after lockdowns etc, we decided to use it as a bridge to the new and different album.

With everything going on, how did the video come together?

Jerry: Well, Catrine planned everything.

Catrine: That’s true. I wrote the manuscript, hired the crew, bought all necessary accessories and booked the best location in Copenhagen / Nordhavn, a new place Tunnelfabrikken which is for multiple future events but not yet finished.

I like to support new projects including video-marketing students, therefore the video was clipped by Mira. This video was her first music video and I think she did a great job. The after-effect guy, Jesper (who we met years ago) was hired to support his carrier. He has just got nominated for Best Visual Effects for the movie ‘Victim of Love’ (London International Television – Lonely Wolf).

We had a fantastic crew during the music video project and we couldn’t have done it without them – not to forget – the MotionVizual who produced the video, our personal runner Kenneth, photographer Dag, stylist Cianne and Mogens who drove a long way to deliver a door to the shootings. The door was actually the hardest part of it all *laughs*

The music video has been made to show the Nordic power we consist of. Therefore we included a Thor’s hammer or Mjölnir. My hair was styled with inspiration from ‘Vikings’ combined with the cables which indicates that I’m disconnected from the World.

How is the new album coming along?

Jerry: Not as far as it could have been. During the lockdown we produced a lot. The last 3 months we spent time on the ‘System Failure’ project, the video and building a new studio. This has of course delayed the production of the album, I can’t wait to continue working on it.

Catrine: Neither can I. We will continue the production of the album in July – as we have a deadline to reach.

With everything that’s happened, how do you hope to regain momentum after opening for OMD at the start of 2020?

Jerry: It has been tough and strange at the same time.

Catrine: After touring with OMD, the lockdown killed many of possible gig opportunities. But just as we thought it ruined our chances to grow, we were wrong. We had a long time in the studio which was a benefit to the production of many new songs to the album. We also had a lot of merchandise sales on Bandcamp from our new and loyal fans. So this ‘System Failure’ period didn’t ruin anything for us regarding needing regain momentum. We still have contact with Andy Bell and his Torsten-team and OMD.

Besides that, we signed a contract with a management bureau T/A/P/E who have more than 30 years of experience working at Live Nation. Overall, we have a calm and creative mood now and know for sure that nothing (not even Covid) can stop us from producing new music.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to SOFTWAVE

‘System Failure’ is available digitally on a variety of platforms including https://beatify.audio/#/music/234

Other SOFTWAVE releases are available from https://softwave.bandcamp.com/

http://www.softwavemusic.com/

https://www.facebook.com/SoftWaveMusic/

https://twitter.com/SoftWaveMusic

https://www.instagram.com/softwave_music/

https://open.spotify.com/artist/5wo2L2BtVUYsopJnWAo8Z6

Text and Interview by Chi Ming Lai
Photos by Dag Stinus
24th June 2021

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