Category: Reviews (Page 48 of 199)

ITALOCONNECTION Midnight Confessions Vol1

21 June 2021 /


In the UK, ITALOCONNECTION are perhaps best known for their remixes of HURTS ‘Better Than Love’ and THE HUMAN LEAGUE’s ‘Never Let Me Go’; the latter’s radio mix was actually BBC Radio2’s preferred version for airplay.

For Italian music veterans Fred Ventura and Paolo Gozzetti, the ethos of ITALOCONNECTION is “to sound vintage in a modern way”.

The duo released their self-titled debut album in 2013 which comprised of their own tracks as well as productions and remixes for other artists, so 2017’s ‘Metropoli’ was actually their first album proper.

And now after the interim covers collection ‘Disco Boutique’ comes ‘Midnight Confessions Vol1’, an album about love that also brings in a wider commentary including environmental issues, the worldwide pandemic and human rights, all while fused to a tight danceable electronic sound bursting with melody.

As Fred Ventura himself described it, “The production of this album was like a long journey, going through bad weather and back to the sun several times. We had to face the reality of working from distance and without the usual production jam we used before the pandemic”.

The opener ‘All I Want Is You’ is wonderful and with its chosen Korg Poly synth tones, is almost like CHINA CRISIS gone Eurodisco. Fred Ventura’s vocal topline is appealing and rousing in all the right places to stamp its origins.

Playing with more of machine groove and a much darker tone, ‘Rainbow Warrior’ featuring Swedish performance artist Tobias Bernstrup on lead vocals is another superb song. With references to the story of the Greenpeace ship and the Stonewall Rebellion, it celebrates the heroics of environmental and LGBT activists to an infectious dance beat.

‘All Over’ is all hooks and atmospheres galore with another confident vocal performance from Ventura and when the female vocals join in, it provides a glorious uplift.

The pulsating ‘Get Together’ is a catchy if bittersweet number, with room to breathe musically as Ventura tells of how he wants to be left alone; his falsetto refrain in the vein of ‘I Feel Love’ in the extended coda is a delight.

The superb ‘Virus X’ featuring French veteran Etienne Daho springs a surprise as a suave slice of Gallic synthwave; with a downbeat verse and an emotive chorus, it acts as a poignant musical document of the past year’s tensions while using toxic personal relationships as a sinister lyrical analogy.

Despite its deep cutting bassline and spacey shimmers, the lovelorn drama of ‘Since You Went Away’ takes a progressive turn from its retro-modern first half with a gorgeous monologue from actress Francesca Diprima that brings an airy feminine touch to proceedings alongside Ventura’s voice and a collage of speedy arpeggios towards an expansive climax.

Modern Italo duo CARINO CAT, who had their debut album ‘Attraction Of Heat’ released on Ventura’s Disco Modernism label, guest on ‘The Year Of The Sun’; the sparkly number does exactly as the title suggests with an addictive Mediterranean disco vibe from yesteryear that sounds more than familiar with its catchy chorus and “ohoh-oh-oh” vocal ab-libs!

The largely optimistic template captured on ‘Midnight Confessions Vol1 takes a more introspective turn on ‘Humans’.

As people of the world emerges from a long period of enforced isolation, it is time to “express our right to be loved” with “no reason to give up or hide anymore”. As Paolo Gozzetti reflected: “We are humans, we need to relate, we were made to relate. You can hide, you can escape, but the truth is we all need to relate.”

Throughout ‘Midnight Confessions Vol1’, the production is excellent, showcasing a collection of danceable widescreen European electronic pop at its best. So here’s to the standard being maintained for ‘Midnight Confessions Vol2’.

‘Midnight Confessions Vol1’ is released by Bordello A Parigi on 21st June 2021, the vinyl LP and CD are available direct from https://bordelloaparigi.com/artist/italoconnection/

https://www.facebook.com/italoconnection

https://www.instagram.com/italoconnection/

https://italoconnection.bandcamp.com/

https://open.spotify.com/album/04ctTnxZwdCGHqvmEs5hcU

Text by Chi Ming Lai
21st June 2021

THE FRIXION To Hell & Back

19 June 2021 /

A debut album is an opportunity to relaunch and reach a wider audience, but with the kudos that the long playing format accords.

‘To Hell & Back’ sees THE FRIXION include the best material from their first 2017 EP ‘If U Ever Wonder’ plus some of the singles that have emerged since. Reworking them with the assistance of Tim Dorney from REPUBLICA on selected tracks to hone a refreshed body of work, it has all been achieved without detracting from the essence of the originals, with the red vinyl version in particular, coming over as a sharp eight song collection.

For the duo of Gene Serene and Lloyd Price, life has been tearfully traumatic personally in the past few years, but from sadness and loss often comes great art. ‘To Hell and Back’ is a solemn if driving disco statement, but it comes with hope and a fightback. ‘Deceive a Believer’ displays an unashamed musicality with a brooding futuristic mood that will satisfy the ears of pop and Synth Britannia connoisseurs alike. ‘We Walk A Line’ gothically swings like a mighty electro-COCTEAU TWINS, a magical track that is actually about magic.

Taking on a more fierce gothic stance, ‘I Cannot Play These Games’ sees Serene move on from all the dramas while featuring Roi Robertson from MECHANICAL CABARET in the middle eight to compliment the silky tones of Gene Serene, the emotive ‘Cry, Cry, Cry’ touches on the theme of separation. The brilliant ‘We Should Be Dancing’ throws an optimistic curveball and showcases the duo’s love of Prince and yes, it’s robo-funky and even throws in a synthetic brass section!

It goes all dramatically moody with ‘From Dusk ‘Til Dawn’, Lloyd Price’s wobbling bass synth and minor key mode lifted by a great chorus, coming over like Kylie Minogue if she had taken her Nick Cave phase to the next level.

The neo-orchestrated ‘What We Gonna Do?’ asks that important question and with an almost funereal pace, makes the closing statement while leaving an open book. So what will happen next? Featuring a variety of tempo and signature settings, ‘To Hell & Back’ combines classic retro-futuristic backing with vintage Weimer cabaret overtones and ultimately what LITTLE BOOTS could have sounded like but never actually did.

Going along with the current trend for eight track albums, the red vinyl version achieves its objective to make as direct an impact as possible in the manner of Bowie’s ‘Let’s Dance’ or SIMPLE MINDS ‘Once Upon A Time’. But for those who like extras, the double CD package adds ‘Magic’, ‘If U Ever Wonder’ and a new zingy makeover of ‘Heartbroke Disco’ as well as previously issued covers of Prince’s ‘Under The Cherry Moon’ and Howard Jones’ ‘What Is Love?’. However, the remixes detract from the prime statement of focussing on THE FRIXION, adding little value to the overall package when a single CD of songs might have been better advised.

While the vinyl tracklisting is a fine 40 minute statement that outlines THE FRIXION’s strengths, the expanded 11 track version of the main act plus the two covers present a considered musicality both vocally and instrumentally that sets the duo apart from many British independent acts.

‘To Hell & Back’ is released on 25th June 2021, available as a double CD or download from https://thefrixion.bandcamp.com/album/to-hell-and-back-2

The red vinyl LP can be ordered from https://qrates.com/projects/23630-to-hell-and-back

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

https://twitter.com/TheFrixionBand

https://www.instagram.com/thefrixion/

Text by Chi Ming Lai
19th June 2021

NORTHERN LITE Ja

15 June 2021 /

The project of Andreas Kubat and Sebastian Bohn, NORTHERN LITE’s 2001 single ‘Treat Me Better’ was a cult favourite on the electroclash scene, as was their remix of LADYTRON’s ‘Playgirl’.

For their 14th album ‘Ja’, the German duo have voiced all the tracks in their own language for the first time in their 23 year history.

Despite being considered an electronic dance act, NORTHERN LITE have always incorporated a guitar-driven goth aspect to their work as exemplified by 2005’s ‘Go With The Flow’.

More recent recordings such as ‘Right Now’ from 2017 ‘Hollywood Girl’ EP from 2017 exhibited a more purely electronic template and incidentally featured militaristic cover of DEPECHE MODE’s ‘Enjoy The Silence’.

While Andreas Kubat’s haunted vocal remains, what comes with ‘Ja’ is not only a hybrid of techno, goth, punk and dance but also a catchy synthpop flavour and sardonic wit that sparks a optimism not heard in their previous work. It reflects that not only has the world has changed but so have NORTHERN LITE.

So NORTHERN LITE, they say “yes” and the long player begins with the tense techno rock of ‘Ich Sage Ja’. But despite behind inspired by THE CURE, ‘Ich Fürchte Nein’ remains possibly their most pop-oriented offering of their career. Translating as “I don‘t think so…”, ‘Ich Fürchte Nein’ embraces the enforced isolation and staying sane with a jolly melodic section contrasted by an anxious vocal of a more disposition.

The sombre ‘Lisa’ exhibits a gothic exuberance that is then punctuated by synthy stabs while the marvellously stark ‘In Ganz Berlin’ is unsettling yet weirdly danceable, a glorious celebration of the expressive diversity of Berlin with fierce buzzes and drones set to a crunchy mechanical backdrop.

The chip-tuned influenced electro-punk of ‘Alles Gewinnen’ uses gaming analogies and even throws in drum ‘n’ bass rhythms while despite its droll nature, ‘Wir Reisen Zusammen’ celebrates freedom of movement with a sparking keyboard riff in its chorus that provides a wondering melodic lift, boosted by a solo middle eight.

But the melancholic ‘Bin Ich Nun’ reflects on the here and now although it does point to some light at the end of the tunnel. ‘Nicht Über Liebe’ is as the translation suggests “not about love” and throws a curveball as an acoustic ballad with understated drum machine accompaniment.

Still on the gloomy side, ‘Kannst Du Küssen’ adopts a steadfast Schaffel with distorted guitar for a slice of techno-gothic glam as Kubat expresses how he longs to be kissed. The frantic machine rock of ‘Seltsam’ acts as a “strange” album closer but the incessant rhythm is hypnotic and will no doubt trigger “one person fight” dances at Amphi and M’era Luna.

Having name dropped RAMMSTEIN and THE WEEKND in their publicity for ‘Ja’, while the description is not wholly accurate, the diverse combination does point to NORTHERN LITE’s vision and how there have been no boundaries in realising and refining their hybrid sound.

The contrast of nonchalant Deutsch vocals, deep electronic bass, uplifting vintage synth tones and occasional guitar gathered on ‘Ja’ works a treat, complimented by NORTHERN LITE’s authentic spirit and dry humour. It shows that despite some lean years creatively, Germany is still capable of producing of quality electronic pop with a looming darker edge.

‘Ja’ is released by UnaMusic in double vinyl LP, double CD and digital formats

https://www.northernlite.de/

https://www.facebook.com/NorthernLiteBand

https://www.instagram.com/northernlite_official/

Text by Chi Ming Lai
15th June 2021

PLASMIC Female Fascination

11 June 2021 /


In 2018, PLASMIC had ‘Female Trouble’ but in 2021, she has found some ‘Female Fascination.

Having covered the DIVINE favourite from the John Walters film of the same name in the style of the ‘Jungle Jezebel’ album, DEVO, PEACHES and CRYSTAL CASTLES fan Lauren Lusardi was visiting the UK when ‘Female Fascination’ came together as a possible idea for a song about resilience.

“I spent a month in London staying with my grandma and she inspired me to write the song” she said, “The lyrics ‘Guess I needed more than a vacation since you’ve got a female fascination’ tell her tale of divorce in a time where it was very looked down upon. When she told me her story, I felt it was my duty to write her soundtrack.”

The grainy split screen video for ‘Female Fascination’ features some classic horror references: “Director Bobby Jauregui had the idea to use split screens to mimic the phone frame we see in our every day lives. We took a lot of inspiration from Brian Depalma (‘Scarface’ and ‘Carrie’), Christopher Nolan (Dark Knight & Memento), Texas chainsaw massacre, Italian horror from the 60’s and 70’s, and a bit of Tim burton to top it all off. Bobby had also been watching lots of Wanda vision and ‘The Queen’s Gambit’ while editing the video. In general, it’s an homage to the use of split screen in film and TV.”

Shooting the video presented its own challenges: “The street shots were tricky especially in the pandemic. The hardest was the fashion district because all the people around. My favorite most difficult location was the burned down abandoned house. I got a little too into character and the neighbors threatened to call the cops. Oops!”

But eventually, the shoot was able to be completed: “Bobby managed to find newly vacant apartments in Orange County that we were able to film in front of in peace. I loved this location because they looked like movie set houses / something you would see on studio lot. We did this with zero budget and 100% creativity.”

ELECTRICITYCLUB.CO.UK gives its warmest thanks to PLASMIC

‘Female Fascination’ is available direct from https://plasmic1.bandcamp.com/

http://www.plasmic.rocks

https://www.facebook.com/plasmicpower/

https://twitter.com/plasm1c

https://www.instagram.com/plasm1c/

Text and Interview by Chi Ming Lai
Photo by Scott Free
11th June 2021

PISTON DAMP Making The World Great Again

10 June 2021 /


PISTON DAMP are the new electronic pop duo based in Norway compromising of Jonas Groth and Truls Sønsterud.

Classically trained, Sønsterud became known for remixing under the alias of TRÖLL. Meanwhile Groth has been making music mostly with his older brother Stephan and his band APOPTYGMA BERZERK but with PISTON DAMP, he emerges from that shadow to front his own music. Having performed lead vocals on ‘Nearest’, an ethereal electronic ballad both in concert and on the most recent APOPTYGMA BERZERK EP ‘Nein Danke!’, it is a task he is more than ready for.

PISTON DAMP formed in 2000, but has remained as a hobby project until now. The duo’s first single ‘Something In Me’ perhaps unsurprisingly was reminiscent of the more immediate side of APOPTYGMA BERZERK. Catchy, melodic and rhythmic with an emotively spirited vocal, when Jonas Groth hits falsetto, it provides a most glorious lift.

Entitled ‘Making The World Great Again’, the album begins with the spy drama collage ‘ШУМ’ but a more formally start come with the rousing four-to-the-floor synthpop of ‘Hearts On Fire’ which recalls Swedish combo THE MOBILE HOMES and their ‘Feeling Better’ but with a heavier rhythmic stance.

As the second PISTON DAMP single, the anthemic ‘Runaway’ was given the remix treatment from MESH and DIE KRUPPS; here it punches its way into the psyche with a hypnotic bassline that just stops short of a squelch, while ‘Depth Of Your Eyes’ takes a diversion into an orchestrated 6/8 in the manner of DEPECHE MODE’s ‘One Caress’.

An instrumental interlude ‘Factor Out’ features commentary on spiritual connection which is more than fitting when it segues into the two minute ‘Never Thought It Would End’…

With its hymn-like topline over a gentle sequenced passage, ‘Never Thought It Would End’ comes over like U2’s ‘I Still Have Found What I’m Looking For’ arranged in the style of DEPECHE MODE’s ‘Waiting For The Night’. Continuing with the spirit of Basildon, while the ‘Making The World Great Again’ title song dons its hat off to ‘Black Celebration’, it almost immediately locks into something much pacier and anthemic with a fabulous array of synth sounds and a rousing optimistic chorus of voices that announce “we won’t make the same mistakes as them!”.

‘Don’t’ is the closest PISTON DAMP get to EBM with a thrusting triplet as chiming melodies and soaring vocals glide over a cinematic setting that sets it apart from the Bundeswehr crowd, particularly with an angelic vocal return from COMPUTORGIRL who released an EP back in 2002 that was co-produced by Jonas and Stephan Groth.

‘Loose Ends’ offers what A-HA might have sounded like had they adopted the more baroque industrial pop elements of APOPTYGMA BERZERK, which is not as crazy as it sounds because APOP remixed ‘Lifelines’ for a promo release in 2002.

Primarily instrumental with sporadic percussion, ‘Sacred Secret’ makes use of layered choir refrains while a lonely piano adds poignancy, but shaped by sombre strings, ‘Testimony’ could be a Nordic PET SHOP BOYS with its octave disco bass although the guitar line from DM’s ‘Precious’ finds a way to morph it into a homage to CAMOUFLAGE…

‘Another Pain’ acts as the closer and sees a spacey arpeggio allows Jonas Groth to express some heartfelt frustration and when his multi-tracked vocal ab-libs join in, it starts to sounds like THE BEATLES, especially with the trumpet line…

For anyone who loves the sort of tuneful melancholic European synth that emerged after ALPHAVILLE, A-HA and CAMOUFLAGE as well as the more immediate aspects of APOPTYGMA BERZERK, the self-produced ‘Making The World Great Again’ is an ideal collection to return everyone to a mindset that while reflective, is hopeful that everything is going to be alright.

‘Making The World Great Again’ is released by Sub Culture Records, available from https://subculturerecords.bandcamp.com/album/making-the-world-great-again

https://www.pistondamp.com/

https://www.facebook.com/pistondampcom

https://www.instagram.com/pistondamp/

https://open.spotify.com/album/54YyjAXhjYXjcmboEgvkO7

Text by Chi Ming Lai
Photo by Kine Jensen
10th June 2021

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