A purveyor of neo-classical piano and synth, Robin Hatch is a composer from Toronto.
Primarily known as a classical virtuoso and a touring keyboardist for Canadian alternative rock band OUR LADY PEACE, she effectively leads a triple life. She had experimented with synths previously on 2019’s Wendy Carlos influenced ‘Hatch’ which featured improvised instrumentals using a Jupiter 8, Prophet 12 and Malekko Industries Manther. It was all very different from her debut solo album ‘Works For Solo Piano’ which also came out earlier that year and an eponymous piano only follow-up that came at the end of a prolific 12 month period.
Recorded at home during the lockdown, ‘Noise’ is unlike her three previous works as an avant synth record that incorporates vocals and drum machine. It is also presented with some rather raunchy imagery, although this amusingly offset by the wry use of a Ford Focus! By way of an ‘Introduction’, the opening track of ‘Noise’ does not deviate too far from the experimentation of ‘Hatch’ although it contains more pulsing rhythmic elements.
‘Trophy’ though brings in vocals although this is far from a conventional format of song, with Hatch expressing herself poetically over a sparse backdrop of drones, ring modulation and minimal machine percussion. Meanwhile ‘Hivemind’ is instrumental avant pop with hints of Berlin based Nordic duo ULTRAFLEX and their ‘Olympic Sweat’. The incessant synth bass, sweetened with the flute of Alia O’Brien, provides a tune with a marvellous cosmic groove.
Slightly more gothic overtones make their presence felt on ‘Heatstroke’ in the shape of baroque vocals in the manner of a deeper AUSTRA crossed with BAT FOR LASHES; the percolating drum machine pattern is reminiscent a more minimal ‘Pearl’s Dream’ and compliments the bed of bubbling electronics.
The excellent hypnotic instrumental ‘Lake Water’ swoops like a sci-fi odyssey driven using an understated rhythmic passage, while the delightfully odd ‘Planetarium’ chills hauntingly over a metronome beat. But then over eight minutes comes the mysterious sound sculpture of ‘The Mirror’ before ‘Tie A Bow’ closes proceedings.
Structured around rumbling drones, some exquisite synth tones are displayed as well as an honest weary vocal for Hatch to provide a superb introspective set piece of ‘Twin Peaks’ proportions. Despite its disconcerting title, ‘Noise’ is an intriguing esoteric adventure that showcases an inherent musicality and documents the beginning of a journey into more accessible climes.
Across eight tracks, it develops Robin Hatch’s avant garde inclinations into pop, not unlike the Ana Klimova character in the wonderful independent French film ‘Le Choc Du Futur’ that celebrates female synth musicians.
Since releasing ‘Joyland’, TR/ST’s second album in 2014, mainman Robert Alfons has relocated from Toronto to work in southern Ontario and Los Angeles.
An ambitious two volume work, ‘The Destroyer’ sees Alfons reunite with debut long player collaborator Maya Postepski, who co-wrote and co-produced six of this project’s songs. “My first two records were put out so close to one another that I think of them as one” said Alfons on the reasoning for the new two part work, “Sonically, it teeters between warmth, melody and exhilaration on one hand, and isolating, industrial hardness on the other.”
With rumbles of sub-bass and Alfon’s deep grouchy baritone, the metronomic ‘Colossal’ offers the mysterious TR/ST that people know and love, as does ‘Unbleached’ but with doses of cosmic arpeggiation. But in ‘Gone’, Alfons springs a surprise with possibly the most TR/ST accessible song yet. Neon-lit and extremely melodic, it could be mistaken for COLDPLAY going synthwave but don’t let that be a deterrent; ‘Gone’ is glorious.
With a slight touch of muscular aggression, ‘Bicep’ provides some dynamic weirdness with a few industrialised textures thrown in for good measure during which Alfons’ noted “Eeyore gone Goth” vocal style takes centre stage.
The dramatic ‘Grouch’ sends up Alfons’ public persona, the combination of spacey vibes, hypnotic percussive pulses and neo-Wagnerian overtones providing a wonderfully usual dancefloor template. It’s a wonderful slice of gothic disco that makes the most out of Alfons’ vocal stylings.
The stuttering rhythms of ‘Poorly Coward’ with its swirling dubstep dressing develop on the vibe while more steadfast and atmospheric, ‘Control Me’ exploits an emotive widescreen side to TR/ST not heard before.
Closing proceedings with a decisively moody tone, ‘Wake With’ is one of those rare things, a TR/ST love song and perhaps a signal to the more personal compositions slated for Part 2 of ‘The Destroyer’.
So with the second volume promising to reveal a more mellow intimate side of TR/ST, ‘The Destroyer-1’ presents an initial collection of enjoyable industrial pop alongside more dreamy backdrops and a sincere if weird emotional centre.
‘The Destroyer – 1’ is released on 19th April 2019 by Grouch / House Arrest in vinyl LP and digital formats
TR/ST 2019 Tour Dates:
Amsterdam Bitterzoet (15th April), Copenhagen Vega (17th April), Berlin Urban Spree (19th April), St Petersburg MOD (20th April), Moscow Pluton 21st April), Toronto Phoenix Concert Theatre (26th April), Montreal Corona Theatre (27th April), Boston Brighton Music Hall (1st May), Brooklyn Elsewhere (2nd – 3rd May), Philadelphia Underground Arts (4th May), Washington DC Street Music Hall (5th May), Detroit El Club (9th May), Chicago Lincoln Hall (10th May) , Minneapolis Fine Line Music Cafe (11th May), Portland Wonder Ballroom (14th May), Seattle Neumos (15th May), San Francisco Great American Music Hall (17th May), Los Angeles Fonda Theatre (18th May)
Little is known of Matthieu Roche aka FRAGRANCE. apart from the self-description as a “dreamy synthpop project from Paris”.
Working by himself, Roche has been releasing single tracks via Soundcloud since 2016. Two years ago saw the artist present his first EP entitled ‘Dust & Disorders’ and more recently he covered the GALA hit ‘Freed From Desire’. ‘Now That I’m Real’ is his first long player and, for an album debut, this stuff is rather good. Featuring Neil Tennant-like vocals and clear musical influences from PSB themselves, Roche is introducing the listener to his own sublime take on Parisian synth.
Starting with ‘Gone In A Wink’ with its tribal arpeggios alongside bubbly synth and scant elements of EBM made classy, the curiosity leads the way to something ‘So Typical’, except typical is what it is not. With the dreamy synthwave textures and a vocal that seems to sit comfortably on one level, hypnotic yet awakening, Roche is onto something special here. This is neither retro, nor is it future.
‘Endless Cold’ encapsulates club components along with a claustrophobic feel of a defined space, leading into the depths of ‘Gravity & Grace’. Here, the beat picks up onto a cacophony of dance and rhythm, while ‘Hazy Strobes’ meets vocalist Hante presenting more of a relaxed approach, with the qualities of a good electronic ballad.
‘Crawling To The Void’ moves the body with something of a classic PET SHOP BOYS again; Roche clearly feeling at his best while in this skin. The uneven steps of ‘Leaving The City’ represent a sweet return to the classic synthpop era, with a twist. It’s vintage but modern at the same time, soured with added depths and peppered with sublimal approach to electronic machinery. ‘Heatwave’ ushers the warmth and comfort of comprehensive musical rhetoric, painting a landscape of purity, almost ‘Crystalline’.
Maya Postepski joins FRAGRANCE. on ‘At Last’. The former drummer of AUSTRA and a TR/ST collaborator, Postepski has been making music for a long time, and enjoys remixing and production; here she brings the newest of visions musically, as well as lending her vocals en Français.
The opus ends on ‘The Missing Part’, which rushes through the paces, putting all the pieces together, while the “missing part” cannot be located. The track transcends colourful visions and fragments of reality as seen by Roche.
Maybe not a newcomer as such, FRAGRANCE. has created something of a conversation piece here. The obvious PET SHOP BOYS connotations cannot be ignored, but this is neither a copy nor a direct steal.
Roche has provided some great new elements into something that could be described as retro, and he does it with Parisian style classic simplicity.
With AUSTRA returning following their acclaimed 2011 debut album ‘Feel It Break’, a side project during their hiatus originally featuring their drummer Maya Postepski has almost passed under radar but deserves recognition.
TR/ST started as a synth duo comprising of Postepski and Robert Alfons who released their debut album ‘TRST’ back in early 2012 on the Arts & Crafts label.
Formed in 2010 in Toronto, they released their debut EP ‘Candy Walls’ in 2011 on Brooklyn imprint Sacred Bones Records.
Like AUSTRA, the music is swathed in electro-gothic grandeur but differs in that it features predominately male vocals. The hypnotically sombre ‘Bulbform’ has been their calling card and features a grainy retro-futuristic video cut from archive fashion footage…
Meanwhile the album ‘TRST’ features a number of impressive tracks including the minimal ‘F.T.F.’ which features Postepski duetting with Alfons, her voice possessing the sinister spectre of LADYTRON’s Mira Aroyo.
There’s also the trancier synthscapes of ‘Sulk’ and the alternate Euro-disco of ‘Dressed For Space’ which comes over like a doom laden version of CAMOUFLAGE’s ‘Love Is A Shield’ with Alfons’ unsettling larynx dominating like Eeyore gone goth…
However, with AUSTRA releasing a new album ‘Olympia’ in June, Postepski has returned to the band while Alfons is currently completing a North American tour and working solo on a second TR/ST album.
‘TRST’ is available via Amazon, iTunes and the usual digital outlets
So what did ELECTRICITYCLUB.CO.UK think was hot back in 2011?
It featured a day in March when THE HUMAN LEAGUE, DURAN DURAN and John Foxx all released new albums, while VILE ELECTRODES launched their debut EP. In a year when the synth pioneers were finally recognised for their valuable contribution to popular culture, here are our 30 favourite songs of 2011 presented in alphabetical order by artist…
AUSTRA Spellwork
Canadian trio AUSTRA deliver a stark, baroque form of electronica fuelled by sexual tension. Like a gothic opera which successfully blends light and darkness with fragility and power, Katie Stelmanis and friends borrow the tones of classic DEPECHE MODE and cross it with THE KNIFE for this, their most accessibly brilliant synthpop offering from their debut album. The B-side ‘Indentity’ is a worthy listen too.
Available on the CD ‘Feel It Break’ via Domino/Paper Bag Records
Fresh from opening for John Foxx, Tara Busch released a charity EP for The Bob Moog Foundation. If you’ve ever wanted to hear that bizarre sonic other worldiness of GOLDFRAPP’s first album ‘Felt Mountain’ again, it’s right here on ‘Rocket Wife’. With hints of the eerie classic Star Trek theme, this is really does sound like THE CARPENTERS in outer space! Calling occupants of interplanetary craft, across the universe…
Available on the download EP ‘Rocket Wife’ via The Bob Moog Foundation
With wonderful riffs and an uplifting chorus, this is delicious electronic pop from the cult Swedish trio of Paulinda Crescentini, Tommy Arell and Carl Hammar. Remixed by Athens synth maidens MARSHEAUX, this has the best of both worlds and could easily be mistaken for Sophie and Marianthi. However, PaulindaCrescentini’s Italo Nordic charm gives ‘It’s A Game’ a wonderfully distinct and alluring Mediterranean flavour.
Available on the download EP ‘It’s A Game’ via Graplur Records
BETH DITTO would probably be the Alison Moyet of modern electro if she didn’t prefer the funky punk of her band GOSSIP. ‘Do You Need Someone?’ sees Ms Ditto’s powerful and passionate yearning adding soul to the sparkling electronic dance groove. With production from SIMIAN MOBILE DISCO, KRAFTWERK’s ‘Computer World’ tones towards the song’s coda are a marvellous touch. A future career as an alternative disco diva beckons.
Available on the CD EP ‘Beth Ditto’ via Deconstruction Records/Sony Music
While Dolby’s album return was largely organic with hints of bluegrass and Americana, its token synthpop offering was the wonderful ‘Spice Train’. Over its hypnotic, squelchy sequence and mechanised dance beat, it gets strangely humanised by a Mariachi horn section. With the kitchen sink and a host of exotic influences thrown in via Bollywood and the Middle East, ‘Spice Train’ does exactly what it says on the tin.
Available on the CD ‘A Map Of The Floating City’ via Lost Toy People.
‘All You Need Is Now’ saw DURAN DURAN cyclically return to the funk-led syncopated pop of their first two albums. ‘Being Followed’ is a superb sequencer assisted disco number with a tingling metallic edge, touches of THE CURE’s ‘A Forest’ and Nick Rhodes’ vintage string machine capture the tension of post 9/11 paranoia. Simon Le Bon gives it his all and while he is technically one of the most chronic singers of his generation, he is unique AND untouchable…
Available on the CD ‘All You Need Is Now’ via Tape Modern
NIKONN’s brand new album ‘Instamatic’ is suitably Mediterranean so add that instrumentation to the voice of raspy New Yorker Lana Del Rey and the end result is a glorious sun-kissed dancefloor moment. Somehow, you end up feeling much happier after dancing to, what is essentially in its original form, a quite stark, heartfelt minor key ballad. Now officially sanctioned, the remix brought the former Lizzie Grant to an electronic pop audience.
Originally issued as a free download but currently unavailable.
From her under rated album ‘Make A Scene’ which includes contributions from Richard X and Armand Van Buuren, the appropriately titled Synchronised is a synthpop tune with a distinct YAZOO flavour to it. All highly appropriate as she supported ERASURE during their forests tour this year. This superbly cements her electro kinship which has been apparent since ‘China Heart’ from her ‘Tripping The Light Fantastic’ in 2007.
Available on the CD ‘Make A Scene’ via Douglas Valentine Limited
The best track on the ‘Interplay’ album is a co-written duet with Mira Aroyo of LADYTRON. ‘Watching A Building On Fire’, with its chattering drum machine and accessible Trans- European melodies, oozes a synthetic smokiness. Aroyo’s counterpoint is almost playfully feline although Foxx’s inherent dystopianism gives it his stamp, making this a second cousin of ‘Burning Car’. The Andy Gray remix is also a worthy acquisition.
Available on the CD ‘Interplay’ via Metamatic Records
JOY DIVISION’s original on ‘Closer’ was one of the most fragile, funereal collages of beauty ever committed to vinyl but Elizabeth Walling has covered this cult classic and made it even more haunting! Replacing the piano motif with eerily chilling synth and holding it together within an echoing sonic cathedral, she pays due respect while adding her own understated operatic stylings… you should hear her version of ‘Louie Louie’!
Available on the download EP ‘I Am Shell I Am Bone’ via Anti-Ghost Moon Ray Records
Susanne Sulley does her best LITTLE BOOTS impression with this opener to ‘Credo’, the long awaited comeback album from THE HUMAN LEAGUE. Sounding like ‘Crash’ gone right or CLIENT gone funky, it is also auto-tuned to the hilt as Da League go all contemporary with this marvellous slice of electronic pop. Let’s hope it’s not another ten years before there’s new material!
‘Clump’ could be the sound of the drums on OMD’s ‘History Of Modern Part 1’ but it’s actually this kooky little number by IAMAMIWHOAMI aka Jonna Lee. A synthetically charged amalgam with vintage sounds and even a toy piano thrown in, this is a bit brighter than some her contemporaries if still delightfully odd and mysterious. It’s musically more Bjork than FEVER RAY although she does share the same management with the latter.
Available on the download single ‘Clump’ via iTunes and Amazon
IAMX have captured an electro Gothic aesthetic that combines the theatrics of Weimar Cabaret with themes of sex, alienation and dependency. Despite the lyrical and aural fervor, Corner’s songs are strongly melodic with an accessible grandeur. The superb lead single ‘Ghosts Of Utopia’ from new album ‘Volatile Times’ has instant appeal with its exhilarating mechanical drive and electrickery. His scream of “this is psychosis” is wholly believable! Dance in the dark!
Available on the CD ‘Volatile Times’ via Republic of Music/BMG
Flautist textures dominate the more sedate pace of ‘Mirage’ almost as a reaction to the loudness war of previous album ‘Velocifero’. Helen Marnie’s voice beautifully suits the synthetic atmospherics while the widescreen, spacious mix compliments a catchy tune that has hints of SIOUXSIE & THE BANSHEES. Although confusing some of their fans, given room to explore, ‘Gravity The Seducer’ is that under rated album which will be hailed as a classic in years to come.
Available on the CD ‘Gravity The Seducer’ via Nettwerk Productions
Living in a dream since 1983 and as a homage to ‘The Pleasure Principle’, MAISON VAGUE mainman Clark Stiefel responded musically to a YouTube video entitled ‘Synthpop Is Dead’. The opening salvo is brilliant and the lyric of “Everyone’s entitled to opinion, you have yours and well I have mine” hits home. But it’s the retort of “And though it seems that our opinions differ, you’ll agree in time!” that says it all as the sound of PLACEBO gone electro. This battlecry has heart, soul and humour.
Available on the download album ‘Synthpop’s Alive’ via Amazon
Closing MIRRORS’ outstanding ‘Lights & Offerings’ long player, ‘Secrets’ shifting phat bass riff across two octaves is pure Kling Klang, driven by an intense percussive march. An epic at over ten minutes in length and split into three movements, the ambient interlude of the second section consists of an aural sculpture that plays with the mind. It then suddenly reprises with a piercing military tattoo for its finale with unsettling voices for some added claustrophobic edge.
Available on the CD ‘Lights & Offerings’ via Skint Entertainment
Yes, Moby has settled into a formula but he does it well. One of the more immediate tracks from the excellent independently released ‘Destroyed’ album, ‘Be The One’ is full of rich layered synth strings with moody chordial sweeps over a motorik beat and textured vocoder. Despite the simplistic robotic couplet “I was the hell that you needed – I was the one when you needed love”, it strangely exudes warmth and emotion.
Available on the CD ‘Destroyed’ via Little Idiot Records
From their second EP Radio, with Caroline Myrick’s soft vocals attached to Darin Rajabian’s classic electro disco inspired backing, ‘On The Run’ could be described as Ellie Goulding gone right and is free of folkisms. : “I want back the soft quiet days of ever, when there was lemonade and sand, and rainy screen doors and sad movies; when the minutes were no one else’s but ours”.
Available on the download EP ‘Radio’ via their website
Anthemic gothic rock is what the former Gary Webb deals in these days but ‘The Fall’ is a lot less heavier and one-dimensional than the offerings on previous album ‘Jagged’. Co-written and co-produced by Ade Fenton as an interim project when work on the ‘Splinter’ album was put on hold, with a fair smattering of gritty synths, this achieves a much better sonic balance and Gary Numan’s most accessible number in years.
Available on the CD ‘Dead Son Rising’ via Mortal Records
THE OPIATES are former ELECTRIBE 101 chanteuse Billie Ray Martin and Norwegian DJ and producer Robert Solheim. They have been dubbed as The Carpenters of Electro. Several years in the making, the debut album contained ‘Anatomy Of A Plastic Girl’, a fine avant pop structure that told the tale of a young wannabe actress in Los Angeles who reflects on the facial surgery that has left her scarred…
Available on the CD ‘Hollywood Under The Knife’ via Disco Activisto Records
QUEEN OF HEARTS is Liz Morphew, formally of RED BLOODED WOMEN; this mysterious young royal with her assorted headgear and couture is modern electropop’s own Queen Amidala. From a galaxy far, far away and light years ahead of the poptastic competition, this moody, pulsing cover of indie rockers THE FOALS is transformed by a hypnotism textured with spacious synths to give our Queenie room for some sexy breathiness.
Best known for ‘Looking From A Hilltop’ in 1984, the song’s husband and wife vocalists Larry Cassidy and Jenny Ross have sadly since passed away. So it was highly appropriate that for SECTION 25’s recorded return, fronting the former punks would be Larry and Jenny’s daughter Bethany. She does a fine job with this danceable synth led ditty which captures that classic hedonistic Manchester vibe that recalls THE OTHER TWO’s ‘Tasty Fish’.
Available on the download EP ‘Invicta’ via Fac 51 The Hacienda
SOFT METALS are a newish electro duo comprising Patricia Hall and Ian Hicks. Now resident in Los Angeles, they have an accessibly minimal sound with Hall’s pretty vocals being a particular delight and reminiscent of Dot Allison’s flirtatious aura. ‘Eyes Closed’ is probably the highlight from their very promising self-titled debut album, elements of ORBITAL creeping into the danceable bleep fest.
Available on the CD ‘Soft Metals’ via Captured Tracks
Stefan Storm and Oskar Gullstrand hail from Gavle in Sweden. Both filmic and musical elements are important factors in THE SOUND OF ARROWS. Produced by Richard X and featuring a sweet guest vocal from Sarah Nyberg Pergament aka action biker, the choral patches and the symphonic templates are just so reminiscent of OMD. Coupled to some fantastically optimistic ambition, ‘Longest Ever Dream’ is a panoramic joy!
Featuring mournful violin by Chris Payne from The Gary Numan Experience, ‘What Do You Want?’ is the first TENEK track that could be described as possessing a degree of beauty. The Brtish duo’s more rousing anthemic style takes a breather here and although this has more in common with their other ballad track ‘The Art Of Evasion’, the subtlety and strings add a new sonic dimension to the developing TENEK sound.
TIGER BABY are a Copehagen trio led by singer Pernille Pang with Benjamin Teglbjærg and Nikolaj Tarp Gregersen in synthetic support. They released their debut album ‘Noise Around Me’ in 2007. Stylistically, this has all the unmistakeable melodic sensibility that Scandinavian pop acts seem to naturally possess as pretty arpeggios and wispy vocals combine for some dream laden electro accompanied by a fabulous video.
Available on the CD ‘Open Windows Open Hills’ via Gunhero records
VILE ELECTRODES are a colourful beat combo who combine analogue synths with fetish fashion. Their sound could be described as THE SMITHS reincarnated as CLIENT but ‘My Sanctuary’, the closing track on their debut EP is a sweeping moody epic that recalls imperial phase OMD. Anais resigned melancholic vocal gives that ice maiden demeanour over glorious symphonic synth strings and deep sombre tones. It’s magnificence embroiled.
They’re the 21st Century equivalent of THE TEARDOP EXPLODES but with no brass. WHITE LIES however are much more bombastic with synths carrying melodies and assorted effects. Driven by a sweeping theme and deep bass thud before leading to a sense of urgency in the verse, a thoroughly anthemic chorus doesn’t appear until halfway to increase tension. This is possibly what TX could have sounded like if Julian Cope hadn’t gone to live under a tortoise shell!
Available on the CD ‘Ritual’ via Fiction/Polydor Records
Chugging arpeggios, clattering primitive drum machines and slightly unorthodox vocals, minimal duo XENO & OAKLANDER give a brilliantly vibrant offering of vintage futurism. ‘The Staircase’ is their most immediate offering yet. Based in Brooklyn, part of their authentic Europeanism comes from Liz Wendelbo’s wispy French / Norwegian charm. Writing with partner Sean McBride since 2004, they successfully supported JOHN FOXX & THE MATHS in 2011.
Available on the CD ‘Sets & Lights’ via Wierd Records
Those dark Nordic nights certainly have their effect as this cynical tune from this Finnish duo indicates. Comprising helpfully of two friends Tapio and Matti, ZEBRA & SNAKE fuse vintage electronics with a touch of ambient dexterity as an “artistic form of therapy”. ‘Empty Love Song’ is suitably bittersweet and sounds a bit like MGMT’s ‘Time To Pretend’ after six months in deep freeze! However, despite its lyrical stance, it possesses a grand anthemic quality.
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is released on 19th April 2019 by Grouch / House Arrest in vinyl LP and digital formats
is his first long player and, for an album debut, this stuff is rather good. Featuring Neil Tennant-like vocals and clear musical influences from PSB themselves, Roche is introducing the listener to his own sublime take on Parisian synth.
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