‘Subversiv-Dekadent’ was the East German Secret Police classification given to Berlin-based producer and remixer Mark Reeder in his STASI file.
On Mayday 1982, Mark Reeder paid a visit to the DDR part of the then-walled city and while he was taking photos of the grand parade, he was arrested by the STASI and taken in for interrogation. He had been under surveillance as they suspected he was working for M16 and about to assassinate their esteemed leader Erich Honecker… either that or he going to corrupt the youth of East Germany with pop music!
Indeed, it was the latter; but for those who received Reeder’s smuggled-in cassettes of JOY DIVISION, NEW ORDER and the like, it was more like an education as fictionally documented when Mark Reeder lookalike Martin Rauch, HVA agent codename Kolibri, in ‘Deutschland 83’ lit up with joy on hearing DURAN DURAN for the first time on that prize symbol of capitalism, the Sony Walkman!
During those tense Cold War times of East versus West and The Iron Curtain, all the eternally optimistic Reeder wanted to do was to unite people through music. So when The Berlin Wall fell at the end of 1989 and the imminent threat of nuclear holocaust was lifted with the promise of a better, more open-minded world, he did his bit by establishing Masterminded For Success (MFS), a dance label that achieved great success across the European club scene.
Fast forward to the 21st century, and the world is struggling with narcissists despite a pandemic crisis, driven into conflict by power, corruption and lies by that age-old management and control technique of “divide and rule” which most citizens understand but ultimately fail to actually recognise.
A recognised internationalist, Mark Reeder is doing his bit again by issuing a double album named after his STASI classification of productions and remixes made by himself and his engineer Micha Adam. Celebrating his cross-border artistic ethos, where the songs have been restyled, he has added guitar, bass and synths while he has also lent his spoken voice to his own solo productions.
‘Subversiv-Dekadent’ is bookended by Fifi Rong who Reeder first met at the Berlin Kraftwerk in 2016 when she was singing in concert with Swiss trailblazers YELLO. The first track ‘Figure of 8’ is a magical new collaboration between the two with a cinematic backdrop of sparse piano and glistening sequences over which the exquisite Chinese songstress adds her distinctive air of mystery to a more metronomic rhythm construction than perhaps heard on her own work.
Closing the collection, Reeder offers ‘The Present is a Gift Mix’ of Fifi Rong’s 2016 single ‘Future Never Comes’, an eerie and very Berlin-inspired concoction where Chinese musical theatre meets electro Weimer Cabaret via Synth Britannia for a haunting slice of initial after brilliance
YELLO themselves appear via the superb ‘Wet&Hard Remix’ of ‘Vicious Games’; tightened up and given a modern treatment without losing the essence of the 1985 original with the sexy vocals of Rush Winters given the spotlight.
The original ‘Vicious Games’ was an intricately woven patchwork of samples and Reeder even amusingly drops in an ‘I Feel Love’ sequence during the middle eight.
‘United’ by QUEEN OF HEARTS was one of the outstanding highlights from Reeder’s previous 2017 collection ‘Mauerstadt’ and making a welcome appearance on ‘Subversiv-Dekadent’ is the track that precipitated his union with frontfrau Liz Morphew; dressed with cooing vampishness, the ‘Electrically Excited Remix’ of ‘Neon’ is nearly 8 minutes of gently energetic Schaffel.
Both having also appeared on ‘Mauerstadt’, MFU return with a ‘Brexile Remix’ of ‘Law’ that is a blend of distorted guitars, synth pulses and post-punk Mancunian vocals while THE KVB have ‘White Walls’ remodelled as a ‘Stoner Remix’, which is actually a fairly good description despite the frantic arpeggio and claustrophobic string machine.
China’s STOLEN are considered by Reeder to be the most exciting band he’s seen since NEW ORDER and his ‘Sinner Remix’ of ‘The Loop Sin’ is another of his classic productions; full of heavy propulsive grit and live textural enhancements, this denser but more compact version applies an extra bounce on the bass and highlights why the Chengdu six-piece were chosen to open for NEW ORDER on their European tour on 2019.
Of course, Reeder is known for his close friendship with NEW ORDER and his remixes of ‘Singularity’, ‘Academic’ and ‘The Game’ were notable for improving on their initial guises from the ‘Music Complete’ album. His driving ‘Cheeky Devil Remix’ of their most recent single ‘Be A Rebel’ presents a more rigid staccato treatment before tripleting in the chorus while adding guitars that were actually absent from the original mix.
One notable new inclusion to the Mark Reeder portfolio is BIRMINGHAM ELECTRIC led by Dutch-based American Andrew Evans whose previous singles ‘Light of the World’ and ‘Moving Target’ featured long-time OMD drummer Malcolm Holmes; The ‘Crying Remix’ of ‘How Do We End Up Here?’ is a rather good vibey tune with vocoder treatments like a disco lento AIR.
‘Subversiv-Dekadent’ is not just about remixes and Reeder gets to fly solo as well. The percussive ‘21st Century Girl’ sees him quoting from cult TV show ‘The Prisoner’ as his soundtrack penetrates with its almost industrial demeanour, augmented by a guitar lick reprise from his own Save Yourself Mix of ‘Manifesto’ by BLANK & JONES and a cheeky burst of T-REX’s ‘20th Century Boy’,
Described by Reeder himself as “a Wet&Hard trilogy”, the three part ‘You Can Touch Me’ starts in a moody mantric fashion with groans and synth sweeps, before pacing up with a growly bass. It all seems a bit superfluous at first but it sets the scene and gets progressively hypnotic, segueing into a propulsive rumbling section that adds more menace to an already sinister track. As Reeder impassively asks “do you want to touch me?”, it eventually slows down after a frenzy of frenetic rhythmic clatter. This is fine provocative dance music if a little too long, but when it hits the spot during the majority of its 13 minutes, it is mighty!
‘Children Of Nature’ was Reeder’s fine 2019 long player with Alanas Chosnau, best known as one of Lithuania’s biggest singing stars with his penchant for DEPECHE MODE. In an ‘Unpredictable Remix’, ‘Love Of My Life’ mutates into something more minimal but harder compared with the original mix. Meanwhile, in collaboration with Mr Sam and Rani Kamal, ‘I Surrender’ is soulful pop given a shadier new wave treatment with the incongruity adding more tension.
‘Dead Souls’ from Hong Kong domiciled Mexicans DEER Mx is not the JOY DIVISION song but a fit of snarling aggression and strident gothic drama to electronic screeches not heard since ‘Crazy Horses’ by THE OSMONDS. Ending with sampled blasts of mariachi trumpets in the background, it is delightfully odd. However, the heavy deadpan resonance of LIARS and ‘Staring at Zero’ will not be for everybody although their eccentric frontman Angus Andrew has declared Reeder’s ‘Two Thousand Yards Stare Remix’ as his favourite of his own work.
Already rock focussed, ‘Coked Up Biker Anthem’ from New York-based Zachery Allan Starkey sees Reeder realise some of his mad axeman fantasies with his guitar enhanced ‘Leather & Beers’ rework by taking the dystopian metal original into even more speedy Alice Cooper territory. But with an icy build, CEMETERY SEX FAIRIES’ ‘Tanz Allein’ sees a move away from Reeder’s usual four-on-the-floor template and maintains an enjoyably creepy quality with the scary German Grimm tales vocal.
While many purchasers will be NEW ORDER and YELLO completists after the exclusive remixes on ‘Subversiv-Dekadent’, this Mark Reeder collector has so much more to offer. As well for presenting his sometimes lesser-lauded abilities as a composer, it also provides a platform for emergent acts from all around the world to be discovered.
Despite being regarded as ‘Subversiv-Dekadent’, through music Mark Reeder has unified more people than any politician has. In this modern online environment, the influence of music is more international than ever. It makes people connect, love, dance, escape and protest. This diverse collection does that, and isn’t that what music is all about.
“It’s such a strange day, in such a lonely way” sang NEW ORDER on ‘Truth’ in 1981.
The coronavirus crisis of 2020 put the entire live music industry into limbo as concerts were postponed and tours rescheduled.
The situation was affecting everyone with several musicians like Bernard Sumner, Andy McCluskey, John Taylor and Sarah Nixey publicly stating that they had contracted the virus. Even when all pupils returned to schools in the Autumn, there was a ban on indoor singing in English classrooms. It was an indication that out of all professional fields, the arts was going suffer the most.
To make up for the absence of live shows, online streamed events become popular. Two of the best live online gigs were by Swedish veterans LUSTANS LAKEJER from the KB in Malmö and Sinomatic techno-rockers STOLEN with Lockdown Live From Chengdu. Not strictly a lockdown show but available for all to view on SVT was a magnificent live presentation of KITE at the Royal Opera House in Stockholm recorded in late 2019 combining synthesizers, orchestra and choir, proving again why Nicklas Stenemo and Christian Berg are the best electronic duo in Europe.
Concluding his ‘Songs: From the Lemon Tree’ series, Bon Harris of NITZER EBB presented a wonderful set of four electonic cover versions including songs made famous by Joan Armatrading, Connie Francis and Diana Ross. Meanwhile among independent musicians, Dubliner CIRCUIT3 led the way with an innovative multi-camera effected approach to his home studio presentation and Karin My performed al fresco in a forest near Gothenburg.
Taking the initiative, ERASURE did a delightful virtual album launch party for their new album ‘The Neon’ on Facebook with Vince Clarke in New York and Andy Bell in London, talking about everything from shopping to classic synthpop tunes.
Other streamed forms of entertainment came via podcasts and among the best was ‘The Album Years’ presented by Steven Wilson and Tim Bowness. Their knowledgeable and forthright views on selected years in music were both informative and amusing. It was interesting to note that at the end of the 1976 episode, the pair nominated ‘Oxygène’ by Jean-Michel Jarre as the most important album of that year while for 1979, it was ‘The Pleasure Principle’ by Gary Numan.
Many artists who had scheduled releases in 2020 went through with them, although in some cases, there were the inevitable delays to physical product. But a few notable acts couldn’t help but abuse the situation, notably a certain combo from Basildon.
There were already “quality control issues” with the lavish ‘MODE’ 18 CD boxed set, but there was uproar even among the most hardcore Devotees with the ‘Spirits In The Forest’ release. The cardboard packaging was reported to be flimsy and prone to dents, while there was continuity errors galore as Dave Gahan rather cluelessly and selfishly wore different coloured outfits over the two nights in Berlin that the live footage was filmed under the direction of Anton Corbijn.
As if that wasn’t bad enough, there was an Anton Corbijn official illustrated history of DEPECHE MODE entitled ‘DM AC’ in the form of a coffee table photo book published by Taschen which retailed at €750; even though it was signed by Messrs Gahan, Gore and Fletcher, the price tag was a mightily steep. The increasingly ironic words of “The grabbing hands grab all they can…” from ‘Everything Counts’ were not lost on people, who are people, after all!
But Andy Fletcher did provide the most amusing and spot-on quote of the year; during DEPECHE MODE’s acceptance speech into that dinosaur institution The Rock & Roll Hall Of Fame, when Dave Gahan remarked to his bandmates that “I dunno what the hell I would have been doing if I didn’t find music to be quite honest…”, the banana eating handclapper dryly retorted “YOU’D HAVE BEEN STILL STEALING CARS DAVE!”
There were lots of great albums released in 2020 and Berlin appeared to be at the creative centre of them.
There was ‘LP II’ from LINEA ASPERA who made a welcome return after eight years in hiatus and the playful debut by ULTRAFLEX, a collaborative offering from Berlin-based Nordic artists SPECIAL-K and FARAO which was “an ode to exercise, loaded with sex metaphors badly disguised as sports descriptions” .
The DDR born Jennifer Touch told her story with ‘Behind The Wall’ and resident New Yorker DISCOVERY ZONE was on ‘Remote Control’, while Lithuania’s top pop singer Alanas Chosnau made ‘Children of Nature’, his first album in English with Mark Reeder, who himself has lived in the former walled city since 1978; their collected experiences from both sides of the Iron Curtain made for a great record with the political statement of ‘Heavy Rainfall’ being one of the best songs of 2020.
Synth-builder and artist Finlay Shakespeare presented the superb angst ridden long player ‘Solemnities’ with its opener ‘Occupation’ tackling the social injustice of unemployment. A most frightening future was captured in musical form by New York-resident Zachery Allan Starkey who saw his home become a ‘Fear City’, while WRANGLER got themselves into ‘A Situation’.
SPARKS discussed ‘The Existential Threat’ and ‘One For The Ages’ while pleading ‘Please Don’t F*ck Up My World’ on their eclectic 25th album ‘A Steady Drip, Drip, Drip’, just as NIGHT CLUB reflected what many were thinking on ‘Die Die Lullaby’ with ‘Miss Negativity’ looking to ‘Die In The Disco’ while riding the ‘Misery Go Round’.
ASSEMBLAGE 23 chose to ‘Mourn’ with one of its highlights ‘Confession’ illustrating what DEPECHE MODE could still be capable of, if they could still be bothered.
But it was not all doom and gloom musically in 2020. With the title ‘Pop Gossip’, INTERNATIONAL TEACHERS OF POP did not need to do much explaining about the ethos of their second album and drum ‘n’ synth girl GEORGIA was happily ‘Seeking Thrills’.
Veterans returned and 34 years after their debut ‘Windows’, WHITE DOOR teamed up with the comparative youngster Johan Baeckström for ‘The Great Awakening’, while CODE made a surprise return with their second album ‘Ghost Ship’ after an absence 25 years.
‘The Secret Lives’ of German duo Zeus B Held and Mani Neumeier illustrated that septuagenarians just want to have fun. Along with Gina Kikoine, Zeus B Held was also awarded with Der Holger Czukay Preis für Popmusik der Stadt Köln in recognition of their pioneering work as GINA X PERFORMANCE whose ‘No GDM’ was a staple at The Blitz Club in Rusty Egan’s DJ sets.
Incidentally, Rusty Egan announced that Zaine Griff would be joining him with Numan cohorts Chris Payne and David Brooks in a live presentation of VISAGE material, although the announced dates were postponed, pending rescheduling for 2021.
Swiss trailblazers YELLO were on ‘Point’ and continuing their occasional creative collaboration with Chinese songstress Fifi Rong, while one time YELLOW MAGIC ORCHESTRA collaborator Hideki Matsutake returned as LOGIC SYSTEM and released a new long player ‘Technasma’, his project’s first for 18 years.
It was four decades since John Foxx’s ‘Metamatic’ and Gary Numan’s ‘Telekon’, with the man born Gary Webb publishing ‘(R)evolution’, a new autobiography to supersede 1997’s ‘Praying To The Aliens’. Meanwhile, the former Dennis Leigh teamed up with former ULTRAVOX guitarist Robin Simon plus his regular Maths collaborators Benge and Hannah Peel for the blistering art rock statement of ‘Howl’ as well as finally issuing his book of short stories ‘The Quiet Man’.
2020 saw a lot of 40th anniversaries for a number of key albums including ‘Vienna’ by ULTRAVOX, ‘Travelogue’ by THE HUMAN LEAGUE and ‘Closer’ by JOY DIVISION.
Back in 1980, it was not unusual for bands to release two albums in a calendar year as OMD did with their self-titled debut and ‘Organisation’, or JAPAN did with ‘Quiet Life’ and ‘Gentlemen Take Polaroids’.
It appeared to be a tradition that BLANCMANGE were adopting as Neil Arthur delivered the acclaimed ‘Mindset’ and an enjoyable outtakes collection ‘Waiting Room (Volume 1)’.
PET SHOP BOYS and CERRONE proved they still liked to dance to disco because they don’t like rock, but the year’s biggest surprise came with THE SMASHING PUMPKINS whose single ‘Cyr’ crossed the templates of classic DEPECHE MODE with DURAN DURAN.
Interestingly, Gary Daly of CHINA CRISIS and Michael Rother of NEU! used sketches recorded many moons ago to inspire their 2020 solo creations, proving that if something is a good idea, it will still make sense years later. Veteran Tonmeister Gareth Jones released his debut solo album ‘ELECTROGENETIC’ having first come to prominence as the studio engineer on ‘Metamatic’ back in 1980, but Jah Wobble was as prolific as ever, issuing his ninth album in four years, as well as a run of download singles over lockdown.
ANI GLASS had her debut long player ‘Mirores’ shortlisted for Welsh Music Prize and OMD remixed her song ‘Ynys Araul’ along the way, while SARAH P. was ‘Plotting Revolutions’. NINA and a returning ANNIE vied to be the Queen Of Synthwave with their respective albums ‘Synthian’ and ‘Dark Hearts’, although Canadian synth songstress DANA JEAN PHOENIX presented her most complete and consistent body of work yet in ‘Megawave’, a joint album with POWERNERD.
RADIO WOLF & PARALLELS contributed to the soundtrack of the film ‘Proximity’ released on Lakeshore Records and from the same label, KID MOXIE made her first contribution to the movie world with the score to ‘Not To Be Unpleasant, But We Need To Have A Serious Talk’ that also featured a stark cover of ALPHAVILLE’s ‘Big In Japan’. Meanwhile gothwavers VANDAL MOON made their most electronic album yet in ‘Black Kiss’ and POLYCHROME got in on the kissing act too with their new single ‘Starts With A Kiss’.
It would be fair to say in recent times that the most interesting and best realised electronic pop has come from outside of the UK; the likes of TWICE A MAN explored the darker side of life, although TRAIN TO SPAIN used the dancefloor as their mode of expression, 808 DOT POP developed on the robopop of parent band METROLAND and ZIMBRU preferred disco art pop.
In Scandinavia, there was the welcome return of UNIFY SEPARATE (formally US) and HILTIPOP aka Magnus Johansson of ALISON who finally released some music in his own right; once he started, he didn’t stop with 9 releases and counting in 2020! APOPTYGMA BERZERK released ‘Nein Danke!’, their self-proclaimed return to “New Wave Synthpop” and out of that set-up sprang the very promising PISTON DAMP.
Within the PAGE camp, Eddie Bengtsson continued his Numan fixation on the ‘Under Mitt Skinn’ EP although his musical partner Marina Schiptjenko teamed up with LUSTANS LAKEJER bassist Julian Brandt to ride the Synth Riviera for a delightful second helping of their electro crooner concept cheekily titled ‘For Beautiful People Only’.
Over in Germany, U96 teamed up Wolfgang Flür while RENARD, the solo vehicle of Markus Reinhardt from WOLFSHEIM teamed with Marian Gold of ALPHAVILLE and Sarah Blackwood of DUBSTAR. DUBSTAR themselves released a striking corona crisis statement entitled ‘Hygiene Strip’ which saw reconfigured duo reunited with producer Stephen Hague. Meanwhile another poignant song on the topic ‘Small World’ came from SNS SENSATION, the new project by Sebastian Muravchik of HEARTBREAK. In lockdown, TINY MAGNETIC PETS recorded an entire album which they called ‘Blue Wave’.
Of course, 2020 was not full of joy, even without the pandemic, as the music world sadly lost Florian Schneider, Gabi Delgado-Lopez, Chris Huggett, Andrew Weatherall, Matthew Seligman, Dave Greenfield, Rupert Hine, Tom Wolgers, Harold Budd and Ennio Morricone.
An introspective tone was reflected the music of female fronted acts such as and ZANIAS, PURITY RING, WE ARE REPLICA, KALEIDA, LASTLINGS, NEW SPELL, WITCH OF THE VALE, REIN, BLACK NAIL CABARET, GLÜME, GEISTE THE FRIXION, FEMMEPOP and SCINTII. However, countering this, the optimism of RIDER, ROXI DRIVE and NEW RO presented a much brighter, hopeful take on life and the future.
ELECTRICITYCLUB.CO.UK celebrated 10 years as a platform and affirming the site’s intuition about synth talent in anticipation of them achieving greater things, SOFTWAVE opened for OMD on the Scandinavia leg of their ‘Souvenir’ tour. The Danish duo became the sixth act which the site had written about to have become part of a tradition that has included VILLA NAH, MIRRORS, VILE ELECTRODES, METROLAND and TINY MAGNETIC PETS.
On a more cheerful note, S.P.O.C.K beamed down to Slimelight in London before lockdown for their first British live performance in 17 years. Meanwhile on the same night, LAU NAU and VILE ELECTRODES did modular sets at Cecil Sharp House, the spiritual home of English traditional music.
At that event, ELECTRICITYCLUB.CO.UK took delight in curating a DJ set comprising of John Cage’s 4’33” in variations by DEPECHE MODE, GOLDFRAPP, ERASURE, NEW ORDER and THE NORMAL from Mute’s Stumm433 boxed set. This defiant act of silence even caused a curious Jonathan Barnbrook to raise an eyebrow, this from the man who designed the artwork with the white square on David Bowie’s ‘The Next Day’ 😉
The final live event that ELECTRICITYCLUB.CO.UK attended before the March lockdown was an informative lecture at Queen Mary University in London presented by noted cultural scholar Dr Uwe Schütte, in support of his book ‘KRAFTWERK Future Music From Germany’.
Also attending was Rusty Egan who held court at the reception afterwards by having a debate with another musician about the state of UK synth music. He then loudly beckoned ELECTRICITYCLUB.CO.UK over and mentioned how the site was only interested acts that scored “9 out of 10” before admitting that a number of acts he supported only scored “6 out of 10”, with his reasoning being that if acts aren’t supported, then there will be no synth acts existing at all. After a decade in existence, ELECTRICITYCLUB.CO.UK remains proud that it is still extremely selective.
In 2020, the notion of reviews being needed to achieve a promotional profile underwent an existential crisis among media platforms. With streaming now being the main method of music consumption, why would anyone want to read a blog for an opinion about an album when they can just hit ‘play’ and hear the thing for themselves on Spotify, Amazon, Tidal or Bandcamp?
The sound of classic synthpop does live on happily in today’s mainstream via singles by THE WEEKND, DUA LIPA and even STEPS! In that respect, the trailblazing kings and queens of Synth Britannia from four decades ago did their job rather well.
From SUGABABES mashing-up ‘Are Friends Electric?’ for ‘Freak Like Me’ in 2002 to ‘Blinding Lights’ borrowing a bit of A-HA in 2020, the sound of synth is still strong.
It is up to any potential successors to live up to that high standard of Synth Britannia, which was as much down to the quality of the songwriting, as much as it was to do with the sound of the synthesizer. It is a fact that many overlook and if aspiring musicians could pay more attention to the song, instead of making the synthesizer the excuse for the song, then classic electronic pop music may still be around for a little longer and continue to evolve.
ELECTRICITYCLUB.CO.UK Contributor Listings of 2020
Despite the worldwide pandemic crisis, the music industry did its best and soldiered on.
Many artists who had scheduled releases in 2020 went through with them, but other artists used the lockdown situation as creative tension and were particularly productive while stuck at home, to compensate for being unable to perform live shows.
Electronic music has always had an emotional link in particular with isolation and solitary working, so the advances in computerised recording technology meant that a number of musicians could function as before.
Worthy mentions for 2020 include AaRON, ASSEMBLAGE 23, DESIRE, DISCOVERY ZONE, FIAT LUX, JOHN FOXX & THE MATHS, GEISTE, NEW ORDER, NEW SPELL, PAGE, WITCH OF THE VALE, ZIMBRU and 808 DOT POP, while one of the most popular synthpop songs of the year was ‘Blinding Lights’ by THE WEEKND which actually slipped out almost under the radar at the back end of 2019.
A special acknowledgement also goes to ‘Future Shock’ by Marc Collin featuring Clara Luciani which came from his independently produced film ‘Le Choc Du Futur’, but only became more widely known when the fictional story of an aspiring female synth musician set in 1978 was released internationally on DVD this year.
But at the end of the day, only 30 songs could be selected as a snapshot of the calendar year. So here are ELECTRICITYCLUB.CO.UK’s songs of 2020, presented as usual alphabetically by act with a restriction of one song per artist moniker.
TOBIAS BERNSTRUP Private Eye
Tobias Bernstrup is an electronic musician and performance artist from Gothenburg who combines sci-fi, performance art and gothic noir for a striking persona that has been exhibited at art galleries in Sweden. The club-friendly Italo flavoured ‘Private Eye’ looked at the surveillance society with hints of TRANS-X who Bernstrup collaborated with on a new version of his song ‘Videodrome’ in 2018. A follow-up to his last long player ‘Technophobic’ is in the works.
Available on the digital single ‘Private Eye’ via Tonight Records
The ninth full length BLANCMANGE long player of new material since 2011’s ‘Blanc Burn’, Neil Arthur’s dark ‘Mindset’ is only reflecting these strange times. Thus strange pop music is just the tonic and the highlight of this collection was the marvellous KRAFTWERK meets FAITHLESS concoction of the mutant electronic disco of ‘Diagram’. In his sharp Northern lilt, our hero repeating himself like a preacher on how “I want transparency” only adds to the sinister dance.
Available on the album ‘Mindset’ is released by Blanc Check
From ‘Children of Nature’, the excellent first album by Mark Reeder and Alanas Chosnau, ‘Heavy Rainfall’ was a song seemingly having an environmental reference but actually reflecting on the world’s increasingly disturbing political climate. Like a grooving NEW ORDER disco number with Reeder’s rhythm guitar syncopating off an exquisite range of electronic patterns while some spacey magic flies within the exquisite soundscape.
‘Luna Landings’, the second solo offering from Gary Daly was the next best thing to a CHINA CRISIS instrumental album but then it sort of was, comprising of demos that Daly originally recorded between 1981 to 1987. A highly enjoyable record that channelled a laid back demeanour to aid relaxation and escape, the air and hiss from the incumbent machinery added an endearingly earthy quality to proceedings. One of the highlights ‘80s Electro 2’ did exactly as the title suggested.
Hygiene strips are now common reminders of social distancing, so a gesture of solidarity with fellow humans, DUBSTAR presented this poignant song at the height of the UK lockdown. Working with Stephen Hague who co-produced their hits ‘Not So Manic Now’ and ‘Stars’, the writing and recording was completed remotely. There was a forlorn presence in Sarah Blackwood’s vocal but also the subtle lifting air of PET SHOP BOYS to offer some hope in the haze of melancholy.
Available on the digital single ‘Hygiene Strip’ via Northern Writes
With her debut album ‘Mirores’, Ani Glass was shortlisted for Welsh Music Prize. An observational electronic travelogue about her hometown of Cardiff, one of the highlights was the Euro-disco of ‘Ynys Araul’. Rich in traditional melody with a lovely high vocal register while offering a pop sensibility and a wonderful triplet bassline, it was given a subtle remix by her one-time mentor Andy McCluskey who she had worked with as a Mk2 member of GENIE QUEEN.
The mysterious but glamourous GLÜME offered this lovely eerie ‘Twin Peaks’ styled cover of ‘Come Softly To Me’. More chilling and metronomic than the almost acapella 1958 song by THE FLEETWOODS, the original vocal hook was transferred to synth. Her version captured the innocence of forgotten yesterdays in the pursuit of today with its hypnotic arrangement and her lush but tragic Marilyn Monroe meets Julee Cruise delivery.
Available on the digital single ‘Come Softly To Me’ via Italians Do It Better
HILTIPOP might be a new name but the man behind it is something of a veteran. Magnus Johansson’s best known project was been ALISON, but he began working solo and launched HILTIPOP with a triumphant early afternoon slot at Electronic Summer 2015. It would be 2018 before his first release ‘The Pattern’. Johansson’s sombre darker-tinged pop style fused is evident on ‘Time’, with a sample of SIMPLE MINDS ‘Theme For Great Cities’ thrown into a dynamic squelch fest.
Available on the digital EP ‘The Man’ via Hoyt Burton Records
INTERNATIONAL TEACHERS OF POP brought more of their danceable synthy togetherness to home discos with ‘Pop Gossip’. With a sardonic twist and perhaps referring to the soap opera that is the status of HRH Prince Harry and his wife Meghan Markle, the brilliantly uptempo album closer ‘The Tower’ amusingly imagines Queen Elizabeth II telling her Beefeaters to “Take them to The Tower, it’s a beautiful day, take them away!” like a future scene from series 8 of ‘The Crown’!
Available on the album ‘Pop Gossip’ via Desolate Spools
Unwittingly reflecting the pandemic crisis, KID MOXIE soundtracked the film ‘Not To Be Unpleasant, But We Need to Have a Serious Talk’. The plot centred around a womanizer who finds out he is a carrier of an STD, lethal only to women! She said of ‘Big In Japan’: “It didn’t feel right to necessarily use drums because I did want to take a departure from the ALPHAVILLE original. There was already a strong rhythm element with the synth bass and it takes it to a different place by having a woman sing it.”
Exploring the innocence of ‘Teenage Bliss’, the most recent singular offering from KITE was co-produced by Benjamin John Power, best known as Scared Bones artist BLANCK MASS. The dynamic uptempo combination was wonderfully hymn-like, with Stenemo telling his congregation that “Teenage bliss, there ain’t no consequences in your life and you don’t know what tragedy is” before the bittersweet revelation that “In the end, no-one wins!” as “life is not like your first kiss…”
Available on the digital single ‘Teenage Bliss’ via Astronaut Recordings
LASTLINGS are a Japanese Australian sibling duo comprising of Amy and Josh Dowdle whose debut album title ‘First Contact’ was a reference to the thrill and despair of notable life milestones like first love and first heartbreak. Capturing the anxiety of growing up and the unknown of adult independence, the ethereal electronic drama of ‘Held Under’ was one of its highlights, using subtle house influences while maximising a hauntingly treated layers of female voice.
Available on the album ‘First Contact’ via Rose Avenue Records
LINEA ASPERA released their self-titled debut album in 2012. Before any new listeners had an opportunity to discover and savour them, the duo had already disbanded in 2013. The duo reunited in 2019 and on the superb ‘Event Horizon’, the cutting synthesized hooks, disco drum box rhythms and supreme vocals confirmed how LINEA ASPERA have become such a highly rated and beloved duo and why their magnificent melodic melancholy had been so missed over the past few years.
In a typically NIGHT CLUB twist, the duo found their perfect co-conspirator in former SKINNY PUPPY member Dave “Rave” Ogilvie who mixed Carly Rae Jepsen’s 2011 worldwide smash hit ‘Call Me Maybe’. ‘Die In The Disco’ set the ‘Die Die Lullaby’ album off with a slice of throbbing HI-NRG disco, donning its hat to Giorgio Moroder and Bobby Orlando before asking to “take me to a place I can dance” and an unsettling ghostly pitch-shifted voice exclaims that ”This is my party and I will die if I want to…”
Much has changed for NINA. First the German songstress made some life changes and moved back to Berlin. ‘Runaway’ from this year’s ‘Synthian’ album declared she “searching for a way out”. So it was only natural that any new material would be influenced by the sombre realities around her. The self-explanatory ‘Where It Ends’ made something of a sombre statement with the introspective tones of DE/VISION in building towards a steadfast gothic schwing and penetrating synth solo.
Available on the digital EP ‘Control’ via Lakeshore Records
A ghostly light seen by travellers at night that refers to ignis fatuus or “foolish fire”, the astute intelligence of Neil Tennant and Chris Lowe saw Medieval folk mythology referenced for ‘Will-O-The-Wisp, a fabulous PET SHOP BOYS dance tune with catchy hooks and a dry monologue. From the third of a trilogy of long players produced by Stuart Price and recorded in Berlin’s renowned Hansa Studios, the duo’s fourteen album ‘Hotspot’ maintained the duo’s position as exemplary English songsmiths.
Available on the album ‘Hotspot’ via x2 Recordings
PISTON DAMP are a new electronic pop duo based in Norway comprising of Jonas Groth and Truls Sønsterud. ‘Something In Me’ is what APOPTYGMA BERZERK would sound like in full synthpop mode. Catchy, bubbly, melodic and rhythmic with an emotively spirited vocal, when Jonas Groth hits falsetto, it provides a gloriously optimistic lift reminiscent of APOP’s more immediate work, perhaps unsurprisingly given that he is part of their live line-up in support of his brother Stephan.
Available on the digital single ‘Something In Me’ via Sub Culture Records
Recording a collaborative album with Austria’s POWERNERD, the joyous result ‘Megawave’ was Canadian synth starlet Dean Jean Phoenix’s most sonically consistent body of work yet, reflecting her powerhouse stage persona in recorded form fully for the first time. A fun and dynamic collection, the album’s highlight ‘Fight These Robots’ was a classic funky Sci-Fi number with a dose of girly cheekiness and a reflection of a childhood watching ‘Transformers’ cartoons.
Available on the album ‘Megawave’ via Outland Recordings
Described as “Slacker synth-wave refuseniks”, POLYCHROME and their brand of filmic dreamwave as showcased on their self-titled 2018 debut album found favour with TV producers and advertising agencies, particularly ‘Final Kiss’. Continuing the kissing theme, their recorded return Starts With A Kiss’ featured an unexpected but fitting guitar solo but was made extra special by the dreamy voice of Vicky Harrison who said “we’d finished with a kiss, so now wanted to start with one”.
For Bristol-based Finlay Shakespeare, his interest in synths came from his parents’ record collection. His second album ‘Solemnities’ was a more focussed progression from his debut, making the most of a crystal clear modular synth sound coupled to his claustrophobic anxious vocals. The superb ‘Occupation’ was a metronomic squelch fest about social injustice, a raucous avant noise experiment in song with penetrating noise percussion and icy string machines.
Available on the album ‘Solemnities’ via Editions Mego
With her arty but catchy electronic pop, Emilie Simon studied at the Sorbonne and her only release primarily English release was ‘The Big Machine’ in 2009. Using Martian invaders as a metaphor to the world pandemic, she expressed her feelings on the ‘Mars on Earth 2020’ EP. The best track was the powerful ‘Cette Ombre’ on which she summised “Planet Earth is under attack. Faced with an unknown invader, humanity is experiencing an unprecedented shift. What will remain of it?”
Now adding a “THE”, SMASHING PUMPKINS surprised many with a splendid synth friendly single entitled ‘Cyr’. With hooks very reminiscent of ‘Enjoy The Silence’, Billy Corgan & Co went synthpop with much of the track being of an electronic bent, particularly the synthetic bass. Not only that but ‘Cyr’ was also quite catchy in an almost DURAN DURAN vein! It was magnificent surprise that highlighted the hopelessness of the more recent material from DEPECHE MODE.
Available on the album ‘Cyr’ via Sumerian Records / Warner Music Group
If there was a song that captures the claustrophobic solitude of lockdown, then it was ‘Small World’ by SNS SENSATION, the musical vehicle of Sebastian Muravchik, best known as the charismatic front man of HEARTBREAK. A song about self-isolation during the pandemic crisis, ‘Small World’ was a throbbing electronic number with icy rhythms, marrying the elegance of minimal synth with the melodic presence of Italo disco, reminiscent of VISAGE and PET SHOP BOYS.
Less than three years after ‘Hippopotamus’, SPARKS offered ‘A Steady Drip, Drip, Drip’. As idiosyncratic as ever, if there was a key track, then it was the glorious ‘One For The Ages’; with a narrative about craving artistic longevity, the lines “As I write my tome every single night, my eyes show the strain of computer light but I’m pressing on” captured the lot of the creative mind. Already very synthy, the Mael Brothers probably could have made it even synthier!
ZACHERY ALLAN STARKEY featuring BERNARD SUMNER Force
With two albums under his belt, since opening for NEW ORDER in 2016, Zachery Allan Starkey has been working hard on his observational concept album ‘Fear City’. ‘Force’ was a powerful collaboration with Bernard Sumner featuring his signature Italo-influenced sequencing style. Starkey’s impassioned authentic vocals were a rallying call with the daunting prospect of Donald Trump being re-elected on the horizon. Thankfully, the message on jointly produced track was heeded.
ULTRAFLEX are a new duo based in Berlin who describe themselves as “The new teen sensation” with an interest in Soviet disco, athleisure and weirdo boogie. Kari Jahnsen and Katrín Helga Andrésdóttir are better known by their solo monikers FARAO and SPECIAL-K respectively. ‘Olympic Sweat’ was uplifting disco lento with an organic heart, a pretty tune with an expansive sweeping resonance that was reminiscent of SIN COS TAN, PET SHOP BOYS and NEW ORDER, but with a feminine twist.
If there was a musical duo who visually symbolise the dystopian paranoia of the world pandemic crisis, then it is UNIFY SEPARATE, formally known as US. ‘Solitude & I’ was a natural progression with Andrew Montgomery not letting up with his Jeff Buckley inspired vocal delivery, reflecting the isolation and uncertain future as “There’s nobody out there, no-one but you and I”. Anthemic, uplifting and optimistic, it was a message to all about never giving up on your dreams.
Capturing a dystopian outlook on life with an appealing electronic sensibility, ‘Black Kiss’ was the best VANDAL MOON album yet. With a sound seeded from post-punk, goth and new wave, they are shaped as much by their use of drum machines and synthesizers as much as guitars and the inevitable deep baritone vocals. The superb electro-gothic aesthetics of ‘Suicidal City Girl’ recalled the enthralling tension of THE DANSE SOCIETY and a highlight of a record with many highlights.
Available on the album ‘Black Kiss’ via Starfield Music
On ‘Forever’, Greek dark synth songstress Marva Von Theo channelled the frantic tone of ‘River In Me’, the Anders Trentemøller’s collaboration with Jenny Vee of SAVAGES, into a great atmospheric art pop statement on redemption and eternity. A track from her upcoming second album ‘Afterglow’, with determined vocals and punchy beats, ‘Forever’ demonstrated, along with its singular follow-up ‘Ruins’, a significant artistic progression.
Available on the digital single ‘Forever’ via Marva Von Theo
WHITE DOOR released their only album ‘Windows’ in 1983. The melodic synth trio gained cult status and one young fan was Swedish synthesist Johan Baeckström who joined the band for their return. Borrowing the ’Get Carter’ theme but with a more brassy flair, ’Resurrection’ surprised with a bouncy Moroder-inspired stomp while Mac Austin managed to sound like a cross between Morten Harket and Chris De Burgh around some beautifully symphonic synth.
From ‘Children of Nature’, the excellent first album by Mark Reeder and Alanas Chosnau is ‘Heavy Rainfall’, a song seemingly having an environmental reference but actually reflecting on the world’s increasingly disturbing political climate.
“Just a week or so before the US presidential election, we can expect some heavy rainfall” said Mark Reeder, “So, I’m releasing the soundtrack to go with it.”
‘Heavy Rainfall’ is about hope and having strength in adversity. It is about the unfortunate re-emergence of totalitarian regimes and how they can easily creep upon you and change your life, in an instant.
Alanas Chosnau grew up in the former Soviet Union, so he knows how his life could have turned out if the Communist regime had not collapsed. He would never have been able to live his dream to be a singer. Mark Reeder has lived in the divided Berlin since 1978 and had first-hand experience with the mind-controlling East German authorities. He even discovered after the Iron Curtain finally was dismantled down that there was Stasi file on him!
One of the best songs of 2020, ‘Heavy Rainfall’ could be a grooving NEW ORDER disco number with Reeder’s rhythm guitar syncopating off an exquisite range of electronic patterns while some spacey magic flies within the exquisite soundscape. Chosnau solemnly announces the storm warning, yet his message to hang on remains positive.
The video’s imagery of hazard warning tape and destruction through consumption eerily strike home as the Lithuanian gives his impassioned delivery, but there is light at the end of the tunnel in the shape of solar panels.
Alanas Chosnau told ELECTRICITYCLUB.CO.UK that “‘Heavy Rainfall’ transmits the message of the unfortunate rise of totalitarian regimes and strengthened social and even digital control over people”. Meanwhile, Mark Reeder added “‘Heavy Rainfall’ is a song about how our thoughts are manipulated, about how our attention is diverted by trivia. It’s a warning, to be aware, but also the message is positive, that no matter how much heavy rainfall we get, we just have to wait and ride out the storm”.
‘Heavy Rainfall’ comes from the hearts of two men who have witnessed things first hand. Released under the title of ‘Storm Warning’, the EP contains the Cats & Dogs Mix, Mark Reeder’s sub-10 minute Dripping Wet Remix and the Extended Weather Front Mix.
‘Storm Warning’ featuring three mixes of ‘Heavy Rainfall’ is released by MFS on the usual digital platforms including https://markreeder.bandcamp.com/
‘Children of Nature’ is the excellent first album by Mark Reeder and Alanas Chosnau that reflects their personal experiences and hopes for the future.
Alanas Chosnau is one of the biggest singing stars in Lithuania, while Mark Reeder is the Manchester-born producer and remixer who founded the trailblazing techno label MFS and introduced NEW ORDER to electronic dance music along the way.
While ‘Children of Nature’ has something of a melancholic air, it is also optimistic and hopeful. Combining East and West European approaches thanks to Chosnau and Reeder’s respective locations in Vilnius and Berlin, the album does not mask its multi-generational influences and uses them to present good songs with superlative vocals and sympathetic instrumentation.
As two people who personally experienced the divisive spectre of the Cold War head on while living on opposite sides of The Iron Curtain, ‘Children of Nature’ symbolically captures that emotion of desiring love and intimacy in isolation, something that is very relevant in these strange times.
DRAMATIS’ Chris Payne who also co-wrote and played on the VISAGE hit ‘Fade To Grey’ said: “Mark Reeder and singer Alanas Chosnau have recorded a stunning new album called ‘Children of Nature’, a range of well-crafted songs and beautifully produced, with excellent vocals. If you’re a fan of electronic music this is definitely an album to add to your collection.”
With ‘Children of Nature’ attracting many positive plaudits worldwide, Alanas Chosnau and Mark Reeder kindly spoke about the genesis of their creative union and a lot more.
Had the two of you been aware of each other before actually meeting in person at the Lithuanian International Film Festival in 2015?
Alanas: Unfortunately, not. Life is full of surprises. I believe that our meeting was meant to be. Since the first talk at the festival, I immediately felt a creative connection and discovered we shared a love of similar music. Mark is an outstanding personality with so much experience and knowledge in music. I am privileged to work with him and also learn from him.
Mark: Yes, I first met Alanas at the Lithuanian International film festival in Vilnius, where I was presenting the documentary film, ‘B-Movie (Lust & Sound in West-Berlin 1979-89)’. It was a very glamourous event, presented by the President of Lithuania, and the audience were all dressed in formal evening wear, surrounded by glittering camera lights and TV crews. Upon arrival, I was asked if I could also perform a short DJ set during the actual opening ceremony, but due to time restrictions, that ended up being one song – and not really a DJ set. They set up a mixing desk and two CDJ turntables for me, which was dwarfed by the expansive stage and I was thinking, what’s the point of two decks? I can’t really mix anything, as I’m only going to play one song…
After a lengthy presentation of Lithuania’s singer-songwriters, acrobats, magicians and choirs, it was finally my turn to go on stage. The compare introduced me in obviously glowing Lithuanian and I just stood there like a showroom dummy grimacing with fear at my inescapable plight. Then, with a huge smile, he turned and asked me with great expectation, “so Mark, what are you going to do for us tonight?” – I simply raised my forefinger and cheekily said “I’m going to just press, PLAY”.
As the first strains of the song opened, I could see the look upon the fascinated faces of Lithuanian high society. I felt they were all smiling at me more in sympathy than enjoyment. It was very unnerving. As the song progressed, I could see their faces turning from bemusement to shock and horror. They literally all stared at me, open mouthed.
Their uncomfortable expressions were eroding at my confidence as I nervously twiddled with the knobs, and I was thinking, should I really be doing this? Strangely enough, once the song had finished, they applauded furiously, but I wasn’t sure if they were just thankful that my dreadfully pathetic performance was finally over.
Almost as soon as I got off stage, I was introduced to Alanas and he revealed that behind me, a huge projection screen was showing excerpts from ‘B-Movie’. Something I was completely unaware of. Then I realised, that’s why they were all so shocked.
So how did a conversation with some common ground about the Cold War lead to one about actually making music together?
Alanas: I guess we have managed to blend Cold War with Cold Wave philosophy and here it is – ‘Children of Nature’. True, our common political experiences and human understanding of those times has helped us find common solutions much easier. Despite different cultural backgrounds, where we have both matured, living the experience of a time before “the fall of The Berlin Wall” and the fall of Communism is something that bonds us together somehow.
Mark: I met up with Alanas to talk music, and he explained to me a little about his background, that he was originally a Kurd from Iraq, and he came to Vilnius during the Soviet era while he was still a young child. His parents had wisely decided it would be better to send him to Lithuania to keep him safe from Saddam’s possible purges, and eventually his gas bombs.
It was also interesting to hear how he had secretly listened to Western music as a child growing up in the Soviet Union. It seemed apparent that Lithuanians had always had this rebellious streak against their masters in Moscow and listening clandestinely to decadent Western Music was a kind of subversive, secret protest. Yet as he got older, he felt he wanted to make a different kind of music, something that was closer to his own heart.
We discovered our musical tastes overlapped and then the idea just emerged that we should maybe try and do something together. Alanas expressed his desire to finally make an album in English, but explained he’d never done it before, because finding the right kind of person, not only someone who understood the style of music he wanted to make, but also someone who would be able to guide him with his English, had so far proven to be elusive.
But after hearing my NEW ORDER reworking of ‘The Game’, he was convinced I might be the one. He asked me if I thought his English was good enough. I realised that as a kid growing up in the Soviet Union, they didn’t learn English at school. With the fall of communism in the early 90s, people were finally able to listen to all kinds of previously forbidden music from the West, but the lyrics were always a sticking point. That’s why techno became so internationally successful, because it was mainly instrumental.
Although I wasn’t initially aware of what he had achieved musically, I liked Alanas. Besides, he wasn’t asking me to work with him because I was some super famous pop star producer, but because he actually liked the sound of my music (especially my DEPECHE MODE remix). His own Lithuanian music sounded very contemporary and so I wanted to push his boundaries a bit. Give him something he wouldn’t normally do himself. My music is reminiscent. It doesn’t really have a date stamp on it, as it already sounds like it could be from a past era.
Eventually, we made ‘Losing My Mind’, which was then chosen to be the love song in the contemporary Cold War thriller ‘Le Chant Du Loup’ (The Wolf’s Call) and after that, we decided to make an album together.
Was the musical direction of the album something that was conscious and discussed?
Alanas: I would say that our album was consciously as well as intuitively directed. Mark was leading the process. We have exchanged much of our musical experiences, naturally discussed the lyrics and melodies of each track. We wanted our songs to reflect current people’s behaviour, feelings and needs. The message of our music is actual nowadays and I hope listeners hears it.
Mark: To a degree yes. Alanas liked the kind of sound I make and was open minded enough not to interfere. He also enjoyed the surprises and understood my idea was to make music in the present that reflected on our past, but is in fact timeless. Alanas would send me his basic vocal melody idea and I would take it and turn it into something else. Most songs had no real lyrics at first, so as the music developed, I would make subject suggestions, and write the lyrics accordingly, later as Alanas became more confident with his English, he would suggest themes too and write his own lyric ideas. Obviously, once our album started to take shape, we could see there was a pattern in the themes emerging. It wasn’t just all about love and loneliness, but also has contemporary political influences too.
Were there set roles within the writing and production or did you find that all interchangeable?
Alanas: We were so much into writing and producing new tracks. All our album was written interchangeably, while sharing music and lyric drafts, discussing, selecting and adjusting them. All the music production work was done by Mark and Micha Adam at their studio in Berlin.
Mark: Our roles were set before we started. Micha and I are already an experienced production team, and we each know where our strengths lie. Alanas is an established singer and songwriter. Yet for this project, he wanted a different sound to the contemporary one he usually pursues in Lithuania. I think he wanted to surprise his fans a bit there too. Mostly, we would create a template for Alanas to sing his idea to, then we would craft the song around it and write the lyrics, then we would fine tune it.
Did you put together the bones of the songs together while in the same room or was there quite a bit of remote working due to your geographical locations?
Alanas: The whole album work was basically done remotely, with me being in Vilnius and Mark in Berlin. We did have regular meetings in Berlin of course, but the most part of the studio work was remote.
Mark: No, we worked from separate cities. Quite an interesting process in itself and very modern thanks to the internet, such a process would have been impossible in the past. I had fortunately had enough experience working in this way before with other artists too, so it wasn’t so difficult for us. The only difference being in recording the vocals, when it comes to singing the lyrics and getting the intonation and pacing right, which is especially difficult for someone who is not a native English speaker, when they are next to you it is easy to say sing it like this or like that, but when they are in another city it’s not so easy.
Why the title ‘Children of Nature’? How did the song itself come together?
Alanas: The song ‘Children of Nature’ was one of the first tracks created for this album. At the beginning of our work, I sent the music draft to Mark with sketched lyrics including ‘Children of Nature’ and he liked the initial idea. Surely enough, Mark and Micha transformed it to perfection. When album was nearly finished, we realised that ‘Children of Nature’ is exactly the statement that represents our message to the people – we are responsible for the future of ours and future generations, thus must be warriors of our souls to protect it.
Mark: We felt that we wanted to make a statement to the generations of the future, show them what we thought about and that we cared. As a species, we have to a greater extent ruined much of our planet in a very short time. Nature has vented its anger upon us. Yet, in just a few weeks of lockdown, we saw all kinds of environmental miracles occur.
The planet doesn’t need us. It can wipe us out in an instant if it so desires. However, it proved, we could do a lot to help its recovery, if we really wanted to. It was a glimpse into an alternative future if we want it. Just imagine if we invested our technology and creative energy into helping our planet to recover, rather than build more weapons of mass destruction. In reality, we are all children of nature, but in little over a few hundred years we seem to have forgotten that, and as the world is governed by greed and selfishness, the egotistical desire for power and territory, puts us all in danger.
When The Berlin Wall fell, I had hoped that we were above all that in the coming 21st century. Sadly after 30 years, it seems not. We are back to where we were, at the start of the previous century. The cover design depicts a blurred image of post-nuclear children looking accusingly at the viewer. It’s a kind of forewarning. Do we want the future generations to grow up in that kind of post-nuclear world?
The cinematic ‘Losing My Mind’ was the first song released from the sessions and appropriately was in the French Cold War movie ‘Le Chant Du Loup’? Are you fans of spy dramas?
Alanas: Of course, since being a teenager I loved war and spy movies, because their characters take risks and go the end until they reach their goal, or die for it. These characters are mysterious and entertaining, capable to transcend me to new realities.
Mark: I grew up on James Bond and Harry Palmer. John Barry was a constant companion from being child. When Antonine Baudry approached me with a request to write a song for a love scene in his film, we had just started work on ‘Losing My Mind’. I decided as it was a contemporary Cold War thriller, I would pay homage to the music of Cold War thrillers of the past. Antonine heard the first draft and loved it immediately. That’s the version that appears on the soundtrack album.
If the British had James Bond and Harry Palmer, was there an Eastern Bloc equivalent?
Alanas: I guess that the best-known Soviet and even post-Soviet James Bond equivalent is a spy Stierlitz from the famous television series ‘The Seventeen Moments of Spring’ filmed in 1973. This movie has made the greatest impression on me while being a young kid.
One of the album’s highlights is the magnificent ‘Heavy Rainfall’, is that about the environment or something else?
Alanas: Funny enough, this track has nothing much in common with climate, environment or any form of natural weather conditions. Actually, ‘Heavy Rainfall’ transmits the message of the unfortunate rise of totalitarian regimes and strengthened social and even digital control over people.
Mark: ‘Heavy Rainfall’ is a song about how our thoughts are manipulated, about how our attention is diverted by trivia. It’s a warning, to be aware, but also the message is positive, that no matter how much heavy rainfall we get, we just have to wait and ride out the storm.
‘A Loving Touch’ appears to reference ‘Give Me Tonight’, was that intentional?
Alanas: Hmm, I am not sure I know that song ‘Give Me Tonight’. So most probably that means it was not intentional.
Mark: You are the only person who has made that comparison. Well, no it certainly wasn’t intentional. We are all subconsciously influenced by music we have heard though, sometimes you write something and think “have I heard that before?”
Thanks to SHAZAM, you can immediately see if it references anything. It might have partially a similar structure perhaps, which may give that impression, but we never thought of that. I just wanted to make a positive sounding song for the closing part of our album, something which captured a feeling for the roaring 2020s.
Strange thing is, now that we have all been through lengthy stretches of social distancing, where we were not allowed to kiss or hug our friends and loved ones, the message in this song takes on an entirely different meaning.
A track from the SHARK VEGAS archives ‘I Can’t Share This Feeling’ has been dusted off, what was the thinking behind this?
Alanas: To be honest, once Mark shared this track with me, I did not know at all that it is an old track from the SHARK VEGAS shelf. After we had recorded the vocals and the track was fully produced, Mark introduced me to the legend of SHARK VEGAS. We had a great conversation then, I remember. Mark really knows how to pleasantly surprise people.
Mark: I was going through some old SHARK VEGAS demo cassette tapes and I came across a song that I had recorded one night with Alistair Gray in our practice room in Tempelhof airport in the 80s. It never got beyond the rough demo tape stage and I was thinking maybe Alanas might be able to sing this.
So, I reworked it and sent him the backing track and vocal guide. I didn’t tell Alanas it was actually a song from the 80s, as I wanted to surprise him. And as it’s a mixed vocal of me and him, I decided it would only be fair to credit it to SHARK VEGAS.
‘All Alone’ is very on point with the current worldwide lockdown situation, but what had been its original sentiment?
Alanas: ‘All Alone’ is about loneliness, a lonely man in this World. The unexpected coronavirus lockdown has only strengthened this inner feeling of ours. Hasn’t it? When health crisis happened, we had no doubt of which vector of lonely humanity to choose – lockdown dictated it all and we dedicated this song to all the people isolated at home and in hospitals. It appears that we made quite a prophetic song and we indirectly could foresee the upcoming corona crisis.
Mark: Due to the lockdown, this song unintentionally became the first album outtake. We discussed the idea of making a video during lockdown but due to the restrictions it seemed almost impossible to venture outside without consequences, so Alanas made one at home. It’s structured like a 60s song, wrapped in a synthpop style with a contemporary theme.
Initially, I wanted it to be about the dilemma and frustration of loneliness. This is a subject that has actually been a reoccurring theme throughout my entire career, because no matter what, we are born alone and die alone and for the part in between we can sometimes find ourselves left alone, and we are all victims of that at some stage in our lives. It’s a solitary cry for solidarity.
‘Drowning in You’ has something of a ‘Heroes’ feel about it, had Berlin been a key symbolic influence on the album?
Alanas: Comparison to David Bowie is a great compliment. One of my very first childhood journeys was from Baghdad to West-Berlin in 1980 with my beloved mother. Since then, I carry those captured memories of Berlin’s streets, people and unique feeling in the air. Each stay in Berlin inspires me a lot and now working with Mark and Micha at their Berlin studio kind of blends it all together. No doubt, Berlin has influenced our music and I guess Mark can say much more to that point. Berlin is a city like no other.
Mark: ‘Drowning in You’ is a song about love at the dawn of a totalitarian regime, as it creeps upon you without realising the danger. The future looks optimistic even, but then things start to change. Berlin has seen that happen, but it could happen anywhere, anytime. It’s a song of reflection, on a time gone by, when the World seemed a happier place. Everything seems normal at first, but then things slowly start to disintegrate until the day comes when you suddenly find yourself being hauled off to a labour camp…
‘Fade On’ reflects a love for DEPECHE MODE, another act with Berlin very much in their DNA, have you seen the ‘Spirits In The Forest’ film?
Alanas: I first heard DEPECHE MODE as a twelve-year-old when I was already living in Soviet Lithuania, where international music from the West was super hard to get. I found the cassette tape with a name “DEPECHE MODE” at my older cousin’s house and I played ‘People Are People’. That was it. I was totally blown away of how the music sounded. I really cannot deny that discovering DEPECHE MODE in those pale Soviet times strengthened my dream to become an artist, and create my own music and form a band. Yes, I did see the ‘Spirits In The Forest’, loved the cinematography and style of storytelling itself.
Which songs have been your own personal favourites from ‘Children of Nature’?
Alanas: The whole album is an emotional journey through the complex human nature. It speaks to the listener of love, joy, loneliness, happiness, fulfilment, fear, pain… it even predicts the future if you like. The album’s structure is very consistent thanks to Mark’s insights and rich musical experience.
I hope our listeners can feel it. One of my favourite songs is ‘How Do You feel’, because it’s very inspiring and motivating. Also ‘Drowning In You’, ‘Fade On’, ‘Love Of My Life’, ‘Children of Nature’, ‘Heavy Rainfall’, ‘It’s Who You Are’, ‘I Can’t Share This Feeling’…errr
Mark: I can’t really answer that question. I just made an album that I thought Alanas, Micha and I would like to buy. I didn’t want to reinvent the wheel. I just wanted it to be a collection of familiar styles and sounds, that trigger a feeling of reminiscence, but then again, each song is different. It’s an electronic album, but sometimes it also has dance and rock elements to it, like a mixture of all the sounds that have influenced my own musical career.
Your partnership has been well received by music fans, is this a one-off or is working together again something you would like to do?
Alanas: We are very grateful to our fans who like our album and listen to it. I had long discussions with Mark before recording the first track. It took us a while to come up with this decision and I appreciate his trust and belief in me a lot.
Our partnership grew to a highly creative and mutually respectful relationship and I would definitely like to continue working together.
Mark: Micha and I have really enjoyed working with Alanas, we became a great team and we don’t see it ending with this album, on the contrary, we all hope our work will continue, and so it will. Not only have we managed how to make an album while being miles apart, but I think we have found the right song writing formula too in which we can work, which will hopefully make things easier for our next album.
What is next for each of you?
Alanas: Currently we are intensively promoting the digital album, producing new music videos and plan live shows once the corona crisis regulation allows it. Our record label MFS will soon release vinyl and CD formats of the album as it was already planned before the lockdown. As for the future, we do have creative brainstorms, but now all our efforts are focused on making ‘Children of Nature’ a success.
Mark: As always, my music life never stops evolving and apart from promoting ‘Children of Nature’, I have also been quite productive since I came out of lockdown.
First off, I made two remixes of the title track ‘Children of Nature’ for the ‘Natural Selection’ EP, which are much more clubbier in their approach. I also remixed ‘Light of the World’ by BIRMINGHAM ELECTRIC, a project based in Amsterdam. I also remixed ‘Dead Soul’s by a band from Mexico called DEER who currently live in Hong Kong and I have just finished a remix for the CEMETERY SEX FAIRIES.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Alanas Chosnau and Mark Reeder
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release. The cardboard packaging was reported to be flimsy and prone to dents, while there was continuity errors galore as Dave Gahan rather cluelessly and selfishly wore different coloured outfits over the two nights in Berlin that the live footage was filmed under the direction of Anton Corbijn.
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