Tag: Camouflage (Page 3 of 5)

25 ALBUM VERSIONS THAT ARE BETTER THAN THE SINGLE VERSIONS

2 January 2019 /

As long as there has been a music business, artists and producers have been tinkering with their work.

While often, it’s the single version made for mass consumption through radio play that remains superior and best loved, there are occasions when the album take reigns supreme due to the freedom to work on a larger easel without commericial considerations or radio play constrictions.

Often there’s a track that is the obvious standout on the long player, but sometimes it can be of a structure that is considered too long for peak time radio where instant gratification is the key. On other occasions, the vision of the track for album consumption is reconsidered following an earlier short form release produced on a more limited budget.

So as a companion list to the earlier 25 Single Versions That Are Better Than The Album Versions listings feature and restricted to one track per artist, here are 25 Album Versions That Are Better Than The Single Versions presented in chronological and then alphabetical order…

GIORGIO From Here To Eternity (1977)

Despite being a hit single, ‘From Here To Eternity’ was actually something of a disjointed disco medley, throwing in a section of the album track ‘Utopia – Me Giorgio’ halfway through. The full six minute ‘From Here To Eternity’ from the long player of the same name was a futuristic slice of electronic dance perfection, with Giorgio Moroder steadily building on his throbbing synth backbone and layers of vocoder punctuated by the steady beats of drummer Keith Forsey.

Available on the GIORGIO album ‘From Here To Eternity’ via Repertoire Records

https://www.giorgiomoroder.com/

THE HUMAN LEAGUE Being Boiled (1980)

The original Fast Product single version of ‘Being Boiled’ from 1978 had its own charm, recorded as mono demo which was subsequently released. However, having signed to Virgin Records and with a budget behind them, Messrs Marsh, Oakey and Ware took the opportunity to update their calling card with producer John Leckie for the ‘Travelogue’ album to more fully realise its funky overtones inspired by FUNKADELIC. The end result was fuller and more dynamic.

Available on THE HUMAN LEAGUE album ‘Travelogue’ via Virgin Records

http://www.thehumanleague.co.uk/

JAPAN Nightporter (1980)

‘Ghosts’ had been an unexpected singles success for JAPAN in 1982 and Virgin Records wanted more of the same with ‘Nightporter’, despite it being already two years old and with the previously unreleased song ‘Some Kind Of Fool’ in the vaults. Trimming the solemn seven minute ivory laden Satie homage was always going to be difficult and the horrific radio edit butchered out the lengthy if vital instrumental climax of melancholic Oberheim OBX strings. Less really does mean less…

Available on the JAPAN album ‘Gentlemen Take Polaroids’ via Virgin Records

http://www.nightporter.co.uk/

SIMPLE MINDS I Travel (1980)

The album version of ‘I Travel’ was only four minutes in the first place, yet original label Arista Records felt the need to chop the track on both single edits it released and neuter its impact. SIMPLE MINDS never fully realised their potential until they signed to Virgin Records and ‘I Travel’ heralded a futuristic art rock phase where the band’s Germanic influences, coupled to synthesized disco aesthetics of Giorgio Moroder, found favour at clubs like The Blitz.

Available on the SIMPLE MINDS album ‘Empires & Dance’ via Virgin Records

https://www.simpleminds.com/

KRAFTWERK Computer Love (1981)

Whether ‘Autobahn’, ‘Radio-Activity’, ‘Showroom Dummies’, ‘Trans-Europe Express’, ‘Neon Lights’ or ‘The Robots’, the sheer average length of a KRAFTWERK track made them difficult to apply to the single format and ‘Computer Love’ was no different. A beautifully melodic piece that predicted internet dating and stretched to just under seven minutes with its glorious second half synth solo in its album version, it was like the reel of the film was missing in its edited form.

Available on the KRAFTWERK album ‘Computer World’ via EMI Records

http://www.kraftwerk.com/

BLANCMANGE Waves (1982)

A UK Top 20 single for BLANCMANGE in 1983, ‘Waves’ was remixed and given an orchestral treatment arranged by Linton Naiff, but it strangely detracted from the bare emotion of the song. Sounding like Scott Walker fronting OMD, with a more basic synthesized construction and a sombre detuned brass line allowed to breathe at the song’s conclusion, the album version sans orchestra was much better. However, the original cut has yet to be reinstated on reissues of the parent long player ‘Happy Families’.

Available on the BLANCMANGE album ‘The Very Best Of’ via Music Club Deluxe

http://www.blancmange.co.uk/

DAF Kebab Träume (1982)

Originally recorded for a 1980 single on Mute Records in more of a band format featuring guitar and hand-played synths, ‘Kebab Träume’ was subsequently reworked by DAF in a more superior fashion under the production supervision of the legendary Conny Plank for their third and final Virgin-era long player ‘Für Immer’. Transforming into something much heavier, the memorable if controversial line “Deutschland, Deutschland, alles ist vorbei!” had more bite on this album version also issued as a single.

Available on the DAF album ‘Für Immer’ via Grönland Records

https://www.groenland.com/en/artist/deutsch-amerikanische-freundschaft/

LUSTANS LAKEJER Läppar Tiger, Ögon Talar (1982)

Sweden’s LUSTANS LAKEJER came to international attention when their third long player ‘En Plats I Solen’ was produced by Richard Barbieri of JAPAN. With its synthesized atmospheres and art funk aspirations not that far off DURAN DURAN, ‘Läppar Tiger, Ögon Talar’ was one of the album’s highlights. But for the later single version produced by Kai Erixon, the band opted for a more laid back swing arrangement punctuated by a brass section, which frankly was not as good as the original.

Available on the LUSTANS LAKEJER album ‘En Plats I Solen’ via Universal Music

https://www.facebook.com/LustansLakejer/

GARY NUMAN We Take Mystery (1982)

The single version of ‘We Take Mystery’ which was Gary Numan’s last UK Top 10 hit was too short and the extended 12 inch version was too long, which left the album version from ‘I, Assassin’ as the best take of the song. With its crashing Linn Drum snap and fretless bass with live percussion syncopating on top, this was a dancefloor friendly excursion which concluded with a marvellous additional rhythm guitar breakdown from fretless bassist Pino Palladino.

Available on the GARY NUMAN album ‘I, Assassin’ via Beggars Banquet

https://garynuman.com/

VISAGE The Anvil (1982)

Remixed by John Luongo for single release, ‘The Anvil’ ended up as a B-side but while the sound of metal-on-metal was added, it somehow had less presence than the original album version. Possessing far Teutonic tension with some superb guitar work from Midge Ure, metronomic drumming courtesy of Rusty Egan minus his hi-hats, Dave Formula’s superb screaming ARP Odyssey complimented Steve Strange’s tale of debauchery for one of the best ever VISAGE tracks.

Available on the VISAGE album ‘The Anvil’ via Cherry Pop

https://www.discogs.com/artist/3479-Visage

JOHN FOXX Endlessy (1983)

By 1982, John Foxx has rediscovered his love of early PINK FLOYD, THE BEATLES and psychedelia which manifested itself in ‘Endlessy’. Based around a tom heavy Linn Drum programme, deep cello samples and sitars, it was an interesting if messy experimental romp. Come his third album ‘The Golden Section’ recorded under the helm of producer Zeus B Held, the new version, also released as a revisionist single, was much more focussed with an accessible uptempo electronic euphoria.

Available on the JOHN FOXX album ‘The Golden Section’ via Edsel Records

http://www.metamatic.com/

HEAVEN 17 And That’s No Lie (1984)

A sub-ten minute progressive epic was never going to work as an edited single and with ‘And That’s No Lie’, that’s exactly what happened. The original album version was HEAVEN 17’s ambitious adventure in sound and fusion that threw in everything from abstract sonic experiments, jazz piano, Fairlight samples, the gospel voices of ARFRODIZIAK and an orchestra, plus some excellent live bass and guitar work from John Wilson and Ray Russell respectively.

Available on the HEAVEN 17 album ‘How Men Are’ via Virgin Records

https://www.heaven17.com/

ARCADIA The Flame (1985)

ARCADIA was Simon Le Bon, Nick Rhodes and Roger Taylor’s attempt to be JAPAN during the DURAN DURAN artistic hiatus, but many of the songs from the short-lived side project were smothered in a pond of self-indulgence. One of the highlights though was ‘The Flame’, basically ‘A View To A Kill Part 2’. However for its single release, a neo-acapella intro was applied rather than the frantic percussive beginning of the album version which robbed the song of its tension and impact.

Available on the ARCADIA album ‘So Red The Rose’ via EMI Records

http://www.duranduran.com/

DEAD OR ALIVE My Heart Goes Bang (1985)

Having got DIVINE into the UK charts, Stock Aitken & Waterman gave the same treatment to DEAD OR ALIVE, scoring a No1 with ‘You Spin Me Round’. The resultant album ‘Youthquake’ had a number of excellent tracks including ‘My Heart Goes Bang’ which was ripe single material. But the single remix by regular PWL associate Phil Harding was horrible, throwing in the kitchen sink with voice cut-ups and an overdriven rhythm section which drowned out any merits the song originally had.

Available on the DEAD OR ALIVE album ‘Youthquake’ via Sony Music

https://www.discogs.com/artist/46720-Dead-Or-Alive

NEW ORDER Bizarre Love Triangle (1986)

Inspired by a News Of The World headline, ‘Bizarre Love Triangle’ is one of the best loved NEW ORDER tunes. The rugged self-produced original version that appeared on the ‘Brotherhood’ album was a glorious electronic number with a slight mechanical offbeat and space for Hooky’s distinctive bass. But the version released for 45 RPM consumption was a frustrating, four-to-the-floor remix by Shep Pettibone which took all the character out of the song with a barrage of overdriven percussive samples.

Available on the NEW ORDER album ‘Brotherhood’ via Warner Music

http://www.neworder.com/

TALK TALK Living In Another World (1986)

Although ‘Living In Another World’ was the best song on ‘The Colour Of Spring’, it was always going to be a tall order to successfully cut its seven minutes in half for single consumption! A fine progressive combination of synthetic strings, piano, Hammond organ, hypnotic bass, acoustic and electric guitars, percolating percussion and harmonica, the TALK TALK sound would have been nothing however without the anguished vocals of Mark Hollis and the production skills of Tim Friese-Greene.

Available on the TALK TALK album ‘The Colour Of Spring’ via EMI Records

https://www.facebook.com/Talk-Talk-Mark-Hollis-12307963901/

CAMOUFLAGE The Great Commandment (1988)

German trio CAMOUFLAGE had a hit with ‘The Great Commandment’ all over the world including the US, with only Britain remaining ambivalent to their industrial flavoured synthpop. As with many singles of the period, it clocked in at just over three minutes but sounded rushed. Come the debut album ’Voices & Images’ and ‘The Great Commandment’ was more fully realised, allowing space to prevail in the one of the best DEPECHE MODE tracks that the Basildon boys never recorded.

Available on the CAMOUFLAGE album ‘Voices & Images’ via Metronome Music

http://www.camouflage-music.com/

THE BLUE NILE Headlights On The Parade (1989)

Enigmatic Glaswegian trio THE BLUE NILE were never an easy sell to the wider marketplace and the Bob Clearmountain single remix of ‘Headlights On The Parade’ was hopeless, with over a third of the emotively atmospheric number absent for the sake of radio play. The centrepiece of the brilliant ‘Hats’ album, its haunting piano, swaths of synths and a collage of modulated sequences needed a full six minutes to truly convey its solemn drive and rainy cinematic melodrama.

Available on THE BLUE NILE album ‘Hats’ via Epstein Records

http://www.thebluenile.org/

THE GRID Floatation (1990)

Subsonically remixed by Andrew Weatherall with a distinct chilled-out flavour and an additional vocal from Sacha Souter for single release, the brilliant album version of ‘Floatation’ had a more rigid KRAFTWERK feel echoing elements of ‘Tour De France’. And as the track drew towards the home straight, Julian Stringle’s clarinet brought to mind the aesthetics of Dave Ball’s previous residency in SOFT CELL. But while those woodwind textures were present in the single, they were less effective overall.

Available on THE GRID album ‘Electric Head’ via Cherry Red Records

https://www.discogs.com/artist/5081-The-Grid

PET SHOP BOYS Being Boring (1990)

Partly inspired by a quote about Zelda Fitzgerald, novelist and wife of author F Scott Fitzgerald which stated “she refused to be bored chiefly because she wasn’t boring”, ‘Being Boring’ is one of PET SHOP BOYS’ best songs, reflecting on Neil Tennant’s youth and the loss of a friend who died of AIDS. While the single itself was almost five minutes long, the superior album version featured a fabulous intro that steadily built with a lilting synth bassline and wah-wah guitar that made the most of the song’s elegiac aura.

Available on the PET SHOP BOYS album ‘Behaviour’ via EMI Records

http://petshopboys.co.uk/

DEPECHE MODE In Your Room (1993)

A tedious rockist statement by DEPECHE MODE when reworked by Butch Vig for single release, the lengthy original album version of ‘In Your Room’ was widescreen magnificence with a tense percussive drive courtesy of Alan Wilder who only played what was needed, adding a second simplistic drum passage in the final half for extra weight. A fine example of how feel is more important technique, current DM drumhead Christian Eigner managed to mess up his opportunity to shine on this during the ‘Global Spirit’ tour.

Available on the DEPECHE MODE album ‘Songs Of Faith & Devotion’ via Sony Music

http://www.depechemode.com/

LADYTRON Evil (2003)

The second LADYTRON album ‘Light & Magic’ is probably best known for its lead single ‘Seventeen’, but opening its second half was the brilliantly propulsive ‘Evil’. An obvious single, when remixed by noted dance producer Ewan Pearson, it was filled out with extra string synths and made more contemporary. The track lost its appealing spatial dynamics and grunt while the way in which the vocals of Helen Marnie were mixed more than muted her charm.

Available on the LADYTRON album ‘Light & Magic’ via Nettwerk productions

http://www.ladytron.com/

ARTHUR & MARTHA Autovia (2009)

ARTHUR & MARTHA were Adam Cresswell and Alice Hubley; their debut single ‘Autovia’ was the first release on Happy Robots Records in 2008 but when it came to recording the album ‘Navigation’, the incessant Doctor Rhythm drum machine was given a more hypnotic Motorik makeover which ironically gave the track more drive. Meanwhile, there was an extended end section which allowed for some cosmic Theremin and synth wig-outs between the pair not unlike STEREOLAB meeting NEU!

Available on the ARTHUR & MARTHA album ‘Navigation’ via Happy Robots Records

https://www.facebook.com/arthurandmarthaband/

MESH Adjust Your Set (2013)

From MESH’s best album ‘Automation Baby’, the wonderfully metronomic ‘Adjust Your Set’ with its personal relationship commentary in a technology dominated world was one of its many highlights. Given a more orchestrated remix by Nico Wieditz for the MaBose Radio-Edit with a much busier electronic bassline along the lines of ‘Enjoy The Silence’, while this single version had more obvious presence, it lacked the eerie cinematic Morricone-esque air of the album original.

Available on the MESH album ‘Automation Baby’ via Dependent Records

http://www.mesh.co.uk/

GOLDFRAPP Ocean (2017)

‘Ocean’ was already dramatic perfection as the best track on the seventh GOLDFRAPP album ‘Silver Eye’, but for the single version, it was felt a contribution from a former member of the Mute family was needed. While Devotees were wetting themselves over Dave Gahan appearing on a more obviously electronic sounding track again, his faux bluesy drawl was something of a mismatch next to the breathy angelic tones of Alison Goldfrapp. Gahan may be from Essex but he is certainly no Alison Moyet.

Available on the GOLDFRAPP album ‘Silver Eye’ via Mute Artists

https://www.goldfrapp.com/

Text by Chi Ming Lai
2nd January 2019

A Beginner’s Guide To COLIN THURSTON

6 April 2018 /

While Colin Thurston is perhaps not as lauded as Conny Plank, Giorgio Moroder and Trevor Horn, he undoubtedly helped shape the sound of a pioneering musical era.

A jingle writer and jobbing musician, legend has it that he bluffed his way into audio engineering before securing a job with Tony Visconti. Working alongside the legendary producer during his sojourn at Hansa Tonstudio in the Kreuzberg district of West Berlin by the Wall, he experienced a baptism of fire.

There he worked on what became two legendary albums, David Bowie’s ‘Heroes’ and Iggy Pop’s ‘Lust For Life’. He impressed enough to be recommended to Virgin Records signings MAGAZINE when they approached Tony Visconti as producer for the follow-up to their debut album ‘Real Life’.

It was this connection to Virgin Records that also led Thurston to work with THE HUMAN LEAGUE on their debut album ‘Reproduction’. Working together on classic League tracks such as ‘Empire State Human’, ‘Almost Medieval’, ‘Blind Youth’, ‘The Path Of Least Resistance’ and a stark cover of ‘You’ve Lost That Loving Feeling’, while the union was not a commercial success, Phil Oakey, Martyn Ware and Ian Craig Marsh gained valuable experience that would ultimately progress their music careers.

But it was Thurston’s work with DURAN DURAN that was to have the biggest worldwide impact. John Taylor said: “without Colin’s depth of vision, we would never have become the band we became” – under Thurston’s production guidance, DURAN DURAN grew from being a promising New Romantic band with a JAPAN fixation into becoming one of the UK’s biggest music exports to North America.

This was thanks in part to the striking videos accompanying songs such as ‘Girls On Film’, ‘Hungry Like The Wolf’ and ‘Save A Prayer’ directed by the likes of Godley & Crème and Russell Mulcahy, all gaining regular rotation on MTV, although DURAN DURAN’s willingness to undertake long periods of Stateside touring also helped their cause.

After working with DURAN DURAN, Thurston also produced albums by TALK TALK, KAJAGOOGOO, and CAMOUFLAGE, although a reunion with THE HUMAN LEAGUE in 1985 on what was intended to be ‘Crash’ came to nought when Virgin Records rejected the results of the recording sessions.

Thurston became an in-house producer for the Canadian label Brouhaha and latterly undertook only occasional production work. There had been talk of Thurston working together again with DURAN DURAN when the classic line-up of Simon Le Bon, Nick Rhodes, John Taylor, Roger Taylor and Andy Taylor reunited in 2001, although this came to nothing. Sadly after a long illness, he passed away in January 2007, aged 59.

His portfolio indeed reads like a Who’s Who? of popular music. An under rated figure in the successful application of electronic instrumentation within a studio environment, ELECTRICITYCLUB.CO.UK looks back at the career of Colin Thurston via eighteen tracks presented in chronological order, with a limit of one track per album project.

IGGY POP Tonight (1977)

Featuring David Bowie on ARP Solina and providing his very distinct backing vocals to compliment Iggy Pop’s brooding baritone, ‘Tonight’ was a reflective number dealing with the spectre of heroin addiction. Recorded in Berlin as the follow-up to ‘The Idiot’, Thurston co-produced and engineered the parent ‘Lust For Life’ album under the collective name of Bewlay Bros with his two star performers.

Available on the IGGY POP album ‘Lust For Life’ via Virgin Records

http://iggypop.com

DAVID BOWIE Heroes (1977)

Engineering alongside producer Tony Visconti, Thurston found himself working with Brian Eno and Robert Fripp to help fully utilise the Frippertronics tape looping technique that provided the celestial triple guitar signature. Melting in alongside swooping EMS Synthi AKS, stabbing Chamberlain brass and swimmy ARP Solina string machine textures, coupled to a most passionate vocal performance, the train ride that was ‘Heroes’ became one of the most iconic David Bowie recordings.

Available on the DAVID BOWIE album ‘Heroes’ via EMI Records

https://www.davidbowie.com

THE MEN I Don’t Depend On You (1979)

As a disco flavoured experiment helmed by Thurston, THE HUMAN LEAGUE recorded ‘I Don’t Depend On You’ under the pseudonym of THE MEN using a drummer, bassist and female backing vocalists, planting the seed for HEAVEN 17 when Martyn Ware and Ian Craig Marsh left in 1980. Released before the ‘Reproduction’ album, while the single wasn’t a hit, a certain Nick Rhodes was listening and included it in his DJ sets at The Rum Runner.

Available on THE HUMAN LEAGUE album ‘Travelogue’ via Virgin Records

https://twitter.com/martynware

MAGAZINE Rhythm Of Cruelty (1979)

Howard Devoto and co had initially suggested Tony Visconti as producer of their second long player, but were very happy to have his engineer as a substitute. But nervous about his credentials, Thurston did not reveal this was his first full album production. ‘Rhythm Of Cruelty’ captured the art rock virtuosity of Barry Adamson and John McGeoch, while allowing Dave Formula’s keyboards to shine.

Available on MAGAZINE album ‘Secondhand Daylight’ via Virgin Records

https://www.facebook.com/magazineofficial/

THE HUMAN LEAGUE Circus Of Death (1979)

With a manifesto of “synthesizers and vocals only”, Colin Thurston was the man behind the desk for THE HUMAN LEAGUE’s eagerly awaited debut album. Eerily intro-ed with a taped announcement from Peter Lewis of London Weekend Television that Steve McGarrett from ‘Hawaii Five-O’ was about to arrive on a Hawker Siddeley Trident, the clattering synthetic dystopia and narcotic doom of ‘Circus Of Death’ was delivered with a charismatically sombre baritone by Phil Oakey.

Available on THE HUMAN LEAGUE album ‘Reproduction’ via Virgin Records

http://www.thehumanleague.co.uk

LANDSCAPE European Man (1980)

Electronic pioneer Richard James Burgess said: “I think we all embraced this new direction because of our raw excitement over the new technology…We discussed it in the band and everyone was on board so I started working on the lyrics that became ‘European Man’”. Colin Thurston was ideally the man to assist in realising this new direction and interestingly, the rear artwork of the first issue featured an early use of the term “electronic dance music” while the catalogue number was EDM1.

Available on LANDSCAPE album ‘From The Tea-rooms Of Mars To The Hell-holes Of Uranus’ via Cherry Red Records

https://twitter.com/Landscape_band

CLASSIX NOUVEAUX Never Again (1981)

CLASSIX NOUVEAUX flirted with New Romanticism and while the eventual third album ‘La Verité’ was self-produced by Solo, the Colin Thurston steered ‘Never Again’ was the lead single. Written by bassist Mik Sweeney, it showcased Sal Solo’s passionate falsetto amongst a barrage of period Simmons drums, synths, octave bass and flanged guitars. While just missing out on being a Top 40 single, it paved the way for ‘Is It A Dream?’ to reach the No11 spot six months later.

Available on the CLASSIX NOUVEAUX album ‘La Verité’ via Cherry Red Records

https://www.salsolo.com

DURAN DURAN Planet Earth (1981)

After seeing DURAN DURAN open for Hazel O Connor, Colin Thurston found his perfect band, one that appealed to both his electronic and art rock sensibilities. Combining the disco sequencer drive of Giorgio Moroder, the funkier groove of CHIC and the anthemic qualities of glam rock, Messrs Le Bon, Rhodes, Taylor, Taylor and Taylor were to be the new romantics who moved beyond “looking for the TV sound” as they became one of the biggest bands on ‘Planet Earth’.

Available on the DURAN DURAN album ‘Duran Duran’ via EMI Records

http://www.duranduran.com

OUR DAUGHTER’S WEDDING Target For Life (1981)

“We were proud of our musicianship, that we could play complicated parts with precision and speed” said Scott Simon of OUR DAUGHTER’S WEDDING and having supported DURAN DURAN, they summoned the services of Colin Thurston for their ‘Digital Cowboy’ EP . Eschewing machine percussion for a live drummer in Simon Phillips who played on Thurston’s session with THE MEN, ‘Target For Life’ was the frantic highlight from the five track offering.

Available on the OUR DAUGHTER’S WEDDING album ‘Nightlife – The Collection’ via EP Music

https://www.discogs.com/artist/106443-Our-Daughters-Wedding

TALK TALK Talk Talk (1982)

It’s bizarre to think now that when TALK TALK first appeared, they were dismissed as nothing more than DURAN DURAN copyists, thanks to their double name, patronage by EMI and production on their debut album ‘The Party’s Over’ by Colin Thurston. Utilising synths and Simmons drums, their eponymous signature song was not actually a hit first time round and following a number of disagreements, Thurston’s name was taken off the credits of the album.

Available on the TALK TALK album ‘The Party’s Over’ via EMI Records

https://www.discogs.com/artist/60480-Talk-Talk

DURAN DURAN Rio (1982)

Based around a frantic arpeggio sourced from Nick Rhodes’ Roland Jupiter 4, ‘Rio’ is possibly Colin Thurston’s finest moment as a producer. From utilising a reversed slowed down tape of metal rods being dropped on a grand piano’s strings for the intro and capturing some amazing funky bass work from John Taylor, to the quintet locked in full flow with a rousing chorus and sax driven middle section, it was to become an iconic work both musically and visually.

Available on the DURAN DURAN album ‘Rio’ via EMI Records

https://www.facebook.com/duranduran/

KAJAGOOGOO Too Shy (1983)

Look past the silly haircuts and what you see in ‘Too Shy’ is a very well-produced and well-written pop tune. Limahl had handed over a demo to Nick Rhodes while working as a waiter at London’s Embassy Club. Curious, he took the tape to Colin Thurston and when the band signed to EMI, they were embraced by a teenybop audience. Less happy were the other members of KAJAGOOGOO and the result as a coup d’état with Limahl ousted as lead singer.

Available on the KAJAGOOGOO album ‘White Feathers’ via EMI Records

http://limahl.com

KISSING THE PINK The Last Film (1983)

A catchy militaristic tune with a profound anti-war statement, London-based combo KISSING THE PINK had wanted Brian Eno as producer, having worked with Martin Hannett on their debut single ‘Don’t Hide In The Shadow’. But their then-label Magnet Records suggested that Colin Thurston would give a more commercial sound and they were proved right when ‘The Last Film’ become a UK Top 20 single, although it was to be the band’s only chart hit.

Available on the KISSING THE PINK album ‘Naked’ via Cherry Red Records

https://www.facebook.com/kissingthepink/

HOWARD JONES New Song (1983)

Notably High Wycombe’s most famous son, Howard Jones said of working with Thurston on his debut single: “Warners wanted me in the studio as quick as possible to get something going and Colin was doing very well with DURAN DURAN and KAJAGOOGOO”. With a catchy new song that sounded like a synthpop version of Peter Gabriel’s ‘Solsbury Hill’, Jones got that first hit twhich his label desired although he and Thurston were not to do any further work together.

Available on the HOWARD JONES album ‘Best: 1983 – 2017’ via Cherry Red Records

http://howardjones.com

KAJAGOOGOO Big Apple (1984)

With Limahl gone and working with Giorgio Moroder, Thurston stuck with KAJAGOOGOO, now led by bassist and Chapman stick player Nick Beggs. ‘Big Apple’ was a rousing funky pop punctuated by brass section that allowed the band to show off their musical virtuosity. Interest in KAJAGOOGOO waned afterwards, although Beggs was to become a noted sessioneer, working with Gary Numan, Howard Jones, Steve Hackett and Steven Wilson.

Available on the KAJAGOOGOO album ‘Islands’ via EMI Records

http://www.kajagoogoo.com

GARY NUMAN Your Fascination (1985)

Having had an unhappy experience working with Bill Nelson on ‘Warriors’, Gary Numan was open to sharing the studio with an outsider again when the name of Colin Thurston was suggested. The first fruit of labour was the excellent and uncluttered PPG dominated ‘Your Fascination’. However, there was to be no further productions with Thurston as he was in the middle of working with THE HUMAN LEAGUE on the first version of ‘Crash’, which was later scrapped.

Available on the GARY NUMAN album ‘New Dreams For Old’ via Eagle Records

https://garynuman.com

FLIP That’s What They Say About Love (1986)

As synthesizers became more passé with the advent of MTV and a desire for American success, Thurston found himself working with more guitar oriented acts like IMMACULATE FOOLS, WESTWON and ATLANTIC while adding his modern studio sheen. One of his more successful productions in this period was with Aylesbury AOR band FLIP whose appealing FM friendly number ‘That’s What They Say About Love’ was a minor hit in The Netherlands.

Originally available on the FLIP album ‘Flip’ via CBS Associated Records, currently unavailable

https://www.discogs.com/artist/878940-Flip-17

CAMOUFLAGE Heaven (1991)

In order to move away from the DEPECHE MODE derived sound of their first two albums ‘Voices & Images’ and ‘Methods Of Silence’, Marcus Meyn and Heiko Maile enlisted session drummer Gavin Harrison and Thurston to capture more of a live feel to their music. ’Heaven’ was certainly looser than previous CAMOUFLAGE recordings although like with DEPECHE MODE not long after, the use of live drums ironically took some of soul and tension out of the band’s sound.

Available on the CAMOUFLAGE album ‘The Singles’ via Polydor Records

http://www.camouflage-music.com/en/News

In Memory of Colin Thurston 1947-2007

https://www.discogs.com/artist/60619-Colin-Thurston

Text by Chi Ming Lai
6th April 2018

25 CLASSIC SYNTH COVERS

21 December 2017 /

“The medium of reinterpretation” as HEAVEN 17 and BEF’s Martyn Ware once put it, is an important creative opportunity that can widen a musical audience and expand the aural palette.

This was most evident in 1981 when SOFT CELL’s cover of ‘Tainted Love’ became ubiquitous as Synth Britannia’s first true crossover record. It reached No1 in UK, Germany, Australia and Canada while also breaking the US Top 10 a year later.

A disgruntled rival musician had told Marc Almond only a few months before that “You couldn’t make a decent dance record if you tried”, but make one he did! Written by Ed Cobb, ‘Tainted Love’ was recorded by Gloria Jones (partner of the late Marc Bolan) and became a Wigan Casino favourite on the Northern Soul scene.

As a fan of that scene, David Ball knew the song and took it into haunting electronic torch territory. Segued with a Motown cover ‘Where Did Our Love Go?’ on an extended version, it became one of Sire Records biggest selling 12 inch singles in America.

It was to be a double edged sword though as the coupling of two covers made SOFT CELL minimal money despite the record selling millions. Thus successful cover versions generally only make the original songwriter any dough. Although often perceived as a sign of creative desperation, a fair number of cover versions are genuinely recorded as a labour of love.

So what of the other great synth reworkings? The covers in this listing are predominantly conventional songs reworked in a synthpop manner. And in several cases, the reworks have been so distinct and definitive that it is often forgotten they are actually covers! Restricted to one song per artist moniker, they are presented in chronological order.

VISAGE In Year 2525 (1978 – released 1983)

ZAGER & EVANS’ pessimistic ditty was perfect fodder for the first VISAGE demo steered by Midge Ure in 1978. ‘In The Year 2525’ was perfectly resigned aural dystopia. Steve Strange’s deadpan fronted the sombre tone perfectly but Ure’s vocal backing and counterpoints added some musicality. But when Ure presented the demo to his then employers at EMI Records, it was rejected! Remixed later by John Hudson, it was finally unleashed for public consumption in 1983.

Available on the VISAGE album ‘The Face’ via Universal Records

http://www.visage.cc

YELLOW MAGIC ORCHESTRA Firecracker (1978)

One of first Japanese bands to have a Top 20 hit single in the UK was YELLOW MAGIC ORCHESTRA in 1980. ‘Firecracker’ was a cover of a 1959 composition by Martin Denny, but actually released as ‘Computer Game (Theme From The Invader)’. Recorded in 1978, the parent self-titled album was noted for its use of the then brand new Roland MC8 Micro-Composer to control the synthesizers. The result was a clean, exotic pop sound that was unusual, even in the synthpop heartland of Europe.

Available on the YELLOW MAGIC ORCHESTRA album ‘Yellow Magic Orchestra’ via Sony Music

http://www.ymo.org

GARY NUMAN On Broadway (1979 – released 1980)

Written by Jerry Leiber, Mike Stoller, Barry Mann, and Cynthia Weil, a quartet who between them have written some of the greatest songs in pop history, the original by THE DRIFTERS was a favourite in the Webb household. So Gary Numan did a live machine music rendition on 1979’s ‘The Touring Principle’. However, the star on this magnificent reinterpretation of ‘On Broadway’ is not Numan himself, but guest keyboardist Billy Currie of ULTRAVOX with his screaming ARP Odyssey solo.

Available on the GARY NUMAN album ‘The Pleasure Principle’ via Beggars Banquet Records

https://garynuman.com

TELEX Rock Around The Clock (1979)

On paper it shouldn’t have worked; a funereal take of the song that heralded the birth of Rock ‘N’ Roll smothered in robotic vocoder. And it caused much head scratching when it became a UK Top 40 hit, although one person listening was Daniel Miller who borrowed the concept for SILICON TEENS. Belgian trio TELEX always had a sense of subversive irony about them. This mischief came to its head with their lampooning number ‘Eurovision’, which they actually entered for 1980 Eurovision Song Contest!

Available on the TELEX album ‘Ultimate Best of’ via EMI Belgium

http://www.telex-music.com

THE HUMAN LEAGUE Only After Dark (1980)

An all synth rework of Head Spider Mick Ronson’s guitar dominated cult favourite, the metronomic tension was enhanced on THE HUMAN LEAGUE version by the metallic sequence of a Roland System 100 while monophonic synth lines complimented the futuristic atmosphere. Oakey impressively bellowed away while Martyn Ware provided some sprightly vocal support. ‘Only After Dark’ had been due to be released as a single but was cancelled in favour of a reissue of ‘Empire State Human’.

Available on THE HUMAN LEAGUE album ‘Travelogue’ via Virgin Records

http://www.thehumanleague.co.uk

JAPAN All Tomorrow’s Parties (1980)

Said to be Andy Warhol’s favourite Lou Reed composition, this interpretation of THE VELVET UNDERGROUND’s Nico-led cult classic was turned from a Teutonic funeral march into a looser, synth assisted beat ballad in the vein of ROXY MUSIC. Demo-ed under the supervision of manager Simon Napier-Bell in 1979 but remixed later by John Punter, ‘All Tomorrow’s Parties’ was to herald the sophisticated muzak direction that JAPAN were to become ultimately associated with.

Available on the JAPAN album ‘Quiet Life’ via BMG Records

http://www.nightporter.co.uk

OMD The More I See You (1980)

This cover of ‘The More I See You’ had actually began musically as a new OMD composition until Andy McCluskey started improvising and using the words of this vintage tune written in 1945 by Harry Warren and Mack Gordon. It was subsequently a hit for Chris Montez in 1966, although OMD’s version was a far darker proposition, with the spectre of JOY DIVISION vocalist Ian Curtis looming over the bright synthesizer melodies and deep bass drones.

Available on the OMD album ‘Organisation’ via EMI Records

http://www.omd.uk.com

DURAN DURAN Fame (1981)

Before they became Birmingham’s most famous boat crew, DURAN DURAN recorded this speeded up version of David Bowie’s art funk co-write with John Lennon and Carlos Alomar for the 12 inch B-side of their flop single ‘Careless Memories’. As well as having a more frantic pace and layers of Nick Rhodes’ Crumar Performer string machine, Andy Taylor even aped Robert Fripp to add a screaming guitar solo that had not featured in the original.

Available on the DURAN DURAN album ‘The Essential Collection’ via EMI Records

http://www.duranduran.com

THE FAST SET King Of the Rumbling Spires (1981)

A speeded-up, manic darkwave rendition of an early Marc Bolan composition, this was the one of the best tracks on the ‘Some Bizzare Album’ after DEPECHE MODE, SOFT CELL, BLANCMANGE, THE THE, B-MOVIE and ILLUSTRATION. The screeching synths and aggressive, unorthodox vocals are all over in a matter of a couple of minutes. THE FAST SET disappeared after just one proper single ‘Junction One’ which also featured another Bolan song ‘Children Of The Revolution’ on the flip.

Available on the ‘Some Bizzare Album’ (V/A) via Some Bizzare Limited

http://www.last.fm/music/The+Fast+Set

DAVE STEWART & BARBARA GASKIN It’s My Party (1981)

Keyboardist Dave Stewart, once of prog rockers HATFIELD & THE NORTH recruited friend and backing vocalist Barbara Gaskin to sing on the second of his electronic pop covers, the first being ‘What Becomes Of The Broken Hearted’ with Colin Blunstone. Their inventively oddball synth version of ‘It’s My Party’ (made famous by Lesley Gore) was a triumph and a worldwide hit which reached No1 in the UK and Germany. Stewart and Gaskin have continued to worked together and have a new album pencilled in 2018.

Available on the DAVE STEWART & BARBARA GASKIN album ‘The Singles’ via Broken Records

http://www.davebarb.com

TECHNO TWINS Falling In Love Again (1981)

TECHNO TWINS were wife and husband duo Bev Sage and Steve Fairnie; they indulged in their own brand of ‘Technostalgia’ with silent partner Dave Hewson who later reappeared in POEME ELECTRONIQUE and more recently TWINS NATALIA. This abstract theatrical cover of the 1930 German song composed by Friedrich Hollaender as ‘Ich Bin Von Kopf Bis Fuß Auf Liebe Eingestellt’ and made famous by Marlene Dietrich actually managed to reach No70 in the UK singles chart!

Originally released as a single by PRT Records, currently unavailable

https://www.discogs.com/artist/153114-Techno-Twins

BEF feat GLENN GREGORY Wichita Lineman (1982)

‘Wichita Lineman’ was one of Jimmy Webb’s great narrative songs like ‘By The Time I Get To Phoenix’, ‘Galveston’ and ‘Where’s The Playground Susie?’ which were made famous by Glen Campbell. Although included for the ambitious ‘Music Of Quality & Distinction Vol1’ project, BEF’s recording is a HEAVEN 17 track in all but name and was originally recorded by the other Glenn as his audition piece. The chilling electronic arrangement takes on an even darker turn as a magnificent cacophony of sound invades the climax.

Available on the BEF album ‘1981-2011’ via Virgin Records

http://www.heaven17.com

NEW ORDER Turn The Heater On (1982 – released 1986)

Reggae artist Keith Hudson’s ‘Turn The Heater On’ was a favourite of Ian Curtis and recorded by NEW ORDER for their second John Peel session as a tribute to the late vocalist of JOY DIVISION. Bernard Sumner’s melodica gave a claustrophobic dub laden vibe alongside the white noise rimshot  of Stephen Morris, while Hooky actually played bass as opposed to his trademark higher register six string and Gillian Gillian’s ARP string machine added some appropriately frozen textures to match to the title.

Available on the NEW ORDER album ‘The John Peel Sessions’ via Strange Fruit Records

http://www.neworder.com

MIDGE URE No Regrets (1982)

A cover of a cover, ‘No Regrets’ was written by Tom Rush and a comeback hit for THE WALKER BROTHERS in 1976. During a break from ULTRAVOX, Midge Ure created this synth heavy rework. But that wasn’t all that was heavy… out of nowhere came a blistering guitar solo that would have made Gary Moore proud and a doubled Linn / Simmons pounding for the overdriven climax. Possessing high and lows in a way that previous versions never had, the diminutive Glaswegian made ‘No Regrets’ his own.

Available on the MIDGE URE album ‘No Regrets’ via EMI Gold

http://www.midgeure.com

FRANKIE GOES TO HOLLYWOOD Ferry Cross The Mersey (1983)

FRANKIE GOES TO HOLLYWOOD were very good at covers as Born To Run’ and ‘War’ proved. With a superbly honest vocal from Holly Johnson,  the Trevor Horn produced reworking of this paean to Liverpool’s famous river crossing, written by Gerry Marsden for the 1965 film of the same name, climaxed with some joyous cascading synth lines and a frantic Linn Drum programme in a manner that couldn’t have been originally imagined by its composer.

Available on the FRANKIE GOES TO HOLLYWOOD album ‘Frankie Said’ via Union Square / Salvo

http://www.frankiesay.com

NAKED EYES Always Something There To Remind Me (1983)

NAKED EYES, who comprised of Pete Byrne and Rob Fisher, had actually been in a band called NEON with Roland Orzabal and Curt Smith. They had a huge US hit with a synthpop cover of this Bacharach and David classic which had been put together in the studio from memory. Rob Fisher later met Simon Climie and formed CLIMIE FISHER who had a number of UK hits, but he sadly passed away in 1999 aged just 42; Pete Byrne still continues to tour as NAKED EYES.

Available on the NAKED EYES album ‘Burning Bridges’ via Cherry Pop

http://www.nakedeyesmusic.com

BLANCMANGE The Day Before You Came (1984)

There once was a time when it was not cool to like ABBA and covering their songs was certainly not on many artists’ agenda. But BLANCMANGE changed all that with their version of what many regard as the last ABBA song. Combining that noted Swedish melancholy and melodicism with the artful quirkiness of Synth Britannia, ‘The Day Before You Came’ fitted well with Neil Arthur’s deep melodramatics. Add in the mystique of the Indian sub-continent and it was pure heaven.

Available on the BLANCMANGE album ‘Mange Tout’ via Edsel Records

http://www.blancmange.co.uk

ERASURE Gimme Gimme Gimme (1985)

They did the ‘Abba-esque’ EP and the mid-career crisis ‘Other People’s Songs’ album but ERASURE’s best cover was right at the beginning with this Hi-NRG romp in the big shadow of DIVINE. Turning ‘Gimme! Gimme! Gimme!’ into the ultimate anthem, the progressively faster ending made for an appropriately thrilling climax. Following not long after BLANCMANGE’s cover of ‘The Day Before You Came’, the seeds of an ABBA revival were now well and truly planted.

Remix version available on the ERASURE deluxe album ‘Wonderland’ via Mute Records

http://www.erasureinfo.com

PROPAGANDA Sorry For Laughing (1985)

Written by Paul Haig and Malcolm Ross, ‘Sorry For Laughing’ was the key song on from the only JOSEF K album ‘The Only Fun In Town’. It had been a favourite of ZTT arch strategist Paul Morley and as per the label’s early policy, he persuaded his then-new signings PROPAGANDA to the rework the frenetic guitar track into a more moodily percussive electronic one. However, Ralf Dörper later said: “I very much would have preferred to have a THROBBING GRISTLE cover version…”

Available on the PROPAGANDA album ‘A Secret Wish’ via Union Square

https://www.facebook.com/propagandamabuse/

WINSTON TONG Broken English (1985)

Having written and sung lead vocals on ‘In A Manner Of Speaking’ with TUXEDOMOON which was later covered by a certain Martin L Gore, Winston Tong embarked on a solo electronic pop adventure with Alan Rankine of ASSOCIATES fame at the production helm. The subsequent album entitled ‘Theoretically Chinese’ dealt with the theme of cultural identity and an excellent uptempo cover of Marianne Faithfull’s ‘Broken English’ slotted into the overall concept perfectly.

Available on the WINSTON TONG album ‘In A Manner Of Speaking: Best Of’ via LTM Records

http://www.ltmrecordings.com/winston_tong.html

DEPECHE MODE Route 66 (1988)

Written by Bobby Troup and covered by artists such as diverse as Nat King Cole and The Rolling Stones, this signalled the start of DEPECHE MODE’s fixation with a more blues based sound. While largely guitar driven, the rhythmical structure was driven by drum machine and sequences while the instrumental break of’Behind The Wheel’ made a guest appearance during the middle eight. It was performed as an encore during the ‘World Violation’ tour in 1990, but with Dave Gahan on lead vocals instead of Martin Gore.

Available on the DEPECHE MODE single ‘Behind the Wheel’ via Mute Records

http://www.depechemode.com

JIMMY SOMMERVILLE From This Moment On (1990)

Often having his biggest hits with covers, you could be forgiven for thinking Jimmy Sommerville was some kind of falsetto karaoke machine. But for the most part, his reinterpretations were good. One of his lesser known covers was ’From This Moment On’, a throbbing contribution to the charity album ‘Red Hot & Blue’ of Cole Porter standards. With a snatch of ‘I Feel Love’ thrown in for good measure, this was one of the best recordings from the collection which also featured U2 and ERASURE.

Available on the album ‘Red Hot & Blue’ (V/A) via Chrysalis Records

http://www.jimmysomerville.co.uk

PET SHOP BOYS Go West (1993)

Performed at The Hacienda in 1991, ‘Go West’ had been due to be released in Christmas 1992, but PET SHOP BOYS bottled it when it was pointed out a VILLAGE PEOPLE cover would look like the duo were aping ERASURE’s ‘Abba-esque’.  ‘Go West’ was based on Pachebel’s ‘Canon’ and its elegiac quality was particularly poignant with AIDS still very much in the news at the time. Meanwhile the ‘Oklahoma’ male choir styled key change gave the song a lift that was never apparent in the original.

Available on the PET SHOP BOYS album ‘Pop Art’ via EMI Records

http://www.petshopboys.co.uk

CAMOUFLAGE Bad News (1995)

Written by Moon Martin, an American rock artist who also wrote ‘Bad Case Of Loving You (Doctor, Doctor)’ which was covered by Robert Palmer, ‘Bad News’ with its metronomic core had been popular in German new wave clubs, which was how CAMOUFLAGE came to hear it. Given a pacey Eurodance treatment that was very much of its time, it also mixed in twangy ‘Pulp Fiction’ surf guitar elements alongside the trancey electronics for an unusual but successful hybrid of styles.

Available on the CAMOUFLAGE album ‘The Singles’ via Polydor Records

http://www.camouflage-music.com/en/News

DUBSTAR Not So Manic Now (1995)

Originally a little known song by Wakefield indie band BRICK SUPPLY, DUBSTAR made ‘Not So Manic Now’ their own with the Northern lass earthiness of Sarah Blackwood providing the chilling commentary of an attack on a helpless pensioner. Stephen Hague’s wonderful production fused programmed electronics with guitars and cello in fine fashion, while the incessant programmed rhythms drove the song along without being obtrusive to the horrifying story.

Available on the DUBSTAR album ‘Disgraceful’ via Food Records

http://dubstarofficial.co/

ELECTRICITYCLUB.CO.UK’s ‘A Fistful Of Electronic Covers’ featuring reinterpretations through the ages can be listened to on Spotify at https://open.spotify.com/playlist/12XFwF5iuLj3Jl7Tj2GTpE

Text by Chi Ming Lai with thanks to Ian Ferguson
21st December 2017

M.I.N.E One

1 March 2017 /

CAMOUFLAGE are a cult German synth band, whose career has grown bigger and bigger over the years, thanks to excellent releases and the fact that no song has been similar sounding or routinely written.

‘Greyscale’ marked album number eight, and it astonished once more with full, architectural sounds and the deep quality of the writing. Yet, the face of CAMOUFLAGE, Marcus Meyn has decided to step into his own side project M.I.N.E The collaboration with Jochen Schmalbach and Volker Hinkel, both members of CAMOUFLAGE’s live setup, promises a nod towards newer, darker electronica. As Schmalbach and Hinkel’s input into CAMOUFLAGE has been mainly limited to live events, Meyn gave them a chance to develop something new.

Schmalbach is indeed an international producer, who contributed to ‘If…’ on ‘Greyscale’, and whose style Meyn appreciates greatly. Since CAMOUFLAGE aren’t touring at the moment and no new material is being produced, M.I.N.E are hoping to fill the gap and entice new fans with an EP and plan to release a long player before this summer.

‘Things We’ve Done’ heralds the project and offers four different mixes to add to the variety. This easy listening track nods towards Dave Gahan’s solo achievements on ‘Paper Monsters’, but clear DEPECHE MODE influences are also palpable, especially from around the ‘Ultra’ era. Not necessarily that dissimilar from recent CAMOUFLAGE singles, it is loaded with ample amount of magnificent electronica and capable production by Schmalbach.

‘Dangerous’ follows with a dose of edginess, conveying a message of enticing relationships, while ‘Lean On’ exercises synth a la AND ONE and a variety of noises, that some again are quite DM sounding. “You’ve been hiding from life” actually brings back Basildon’s finest “you’ve been hiding from love” from ‘Free Love’ thanks to the way of its execution. A fair amount of guitar has been introduced into this one towards the end, awakening the moods somewhat.

The last track, ‘White Trash’, is fairly minimalist until the entrance of the chorus and is probably the best number on the EP. Mellow and not overly sophisticated, it rounds up the production nicely, without being too busy or in your face.

M.I.N.E will most probably bridge the gap between a break in action for CAMOUFLAGE, but compared to its daddy, it is fairly lacklustre. Meyn’s vocals are as always more than capable and the production from Schmalbach is indeed proficient, yet none of the songs seem to leave a profound mark.

The promised nod towards a darker electronica feel simply isn’t there; they’re decent songs, but they’re not CAMOUFLAGE quality. Still, Meyn and Co deserve to harvest new fans, with the upcoming album hopefully fulfilling the expectations a little bit more.

‘One’ is released by M.I.N.E Music via the usual digital outlets

http://www.mine-music.com/

https://www.facebook.com/minemusicband/

Text by Monika Izabela Trigwell
1st March 2017

2015 END OF YEAR REVIEW

16 December 2015 /

System100 Cake

There are no illegal connections…

The user manual for the Roland System 100 semi-modular synthesizer profoundly stated “there are no illegal connections…”

And in modern electronic music, that is still the case with the accomplished artists of today very much connected to the synth pioneers of yesteryear like KRAFTWERK, OMD, ULTRAVOX, JAPAN, DEPECHE MODE and THE HUMAN LEAGUE.

Belgian duo METROLAND would not exist without the tradition established at Klingklang, while EAST INDIA YOUTH’s interest in BRIAN ENO and Motorik beats curated a sound that has enabled parallels to be drawn with the artful template of the similarly influenced Paul Humphreys and Andy McCluskey.

And although Susanne Sundfør was already an established singer / songwriter in her homeland of Norway, attention was not fully drawn on her new synth based direction until she performed a sympathetic cover of ‘Ice Machine’ with RÖYKSOPP in late 2012.

Even the exquisite lo-fi Welsh language electronica of Gwenno can be traced to Sheffield, thanks to the songstress’ previous pop excursions which involved working on an album with the late Martin Rushent. As Jean-Michel Jarre said: “Electronic music has a family, a legacy and a future…” so to deny the glorious heritage of electronic music when assessing new acts would be futile. Indeed, acknowledging history is very much part of ELECTRICITYCLUB.CO.UK’s style and it appears to have been appreciated, especially in regard to the feature ‘30 Favourite Albums 2010 – 2014’, one of a quintet of special articles to celebrate the site’s fifth birthday in March…

“Huge thanks to ELECTRICITYCLUB.CO.UK” said avid reader Hugh David, “A victory for well-written, artfully conveyed content curation once again… you knew exactly what to say to sell me on one artist or another. That rare ability of a reviewer to pinpoint the precise comparisons that enable me to decide to seek something out based on my own tastes is something lacking in so many other outlets; love that you’ve got that in spades”

Another reader David Sims added: “ELECTRICITYCLUB.CO.UK is a great way of discovering artists you might not otherwise be aware of. A bit like when a friend used to come round your house clutching an LP or C90 saying ‘I really love this, have a listen’, introducing you to new music that makes your neck hairs stand up in ovation”

2014 was a comparatively lean 12 months, but this year found many veterans returning to the fold. NEW ORDER released ‘Music Complete’, a much discussed comeback that was not only the Mancunians’ first album for Mute, but also without estranged bassist Peter Hook.

Marc Almond released ‘The Velvet Trail’, his first pop album for many years while ANDY BELL embarked on further solo adventures in support of ‘Torsten The Bareback Saint’.

SPARKS joined forces with FRANZ FERDINAND as FFS while telling everyone to ‘P*ss Off’ and proved that collaborations do work. Electronic music legend Jean-Michel Jarre also went the collaborative root. His first album for several years ‘Electronica 1 – The Time Machine’ featured the likes of LITTLE BOOTS,  TANGERINE DREAM, AIR, GESAFFELSTEIN and MASSIVE ATTACK along with ArminVan Buuren, John Carpenter and Vince Clarke.

Another legend Giorgio Moroder made his statement of intent with ‘74 Is The New 24’ and released ‘Déjà Vu’, a disco pop record featuring the likes of Sia, Britney Spears, Foxes and Kylie Minogue.

Meanwhile, his artier counterpart Zeus B Held gave us some ‘Logic of Coincidence’ and Wolfgang Flur made his solo debut with ‘Eloquence’, his first length album project since 1997.

Liverpool duo CHINA CRISIS delivered ‘Autumn In The Neighbourhood’, their first original material since 1994’s ‘Warped By Success’ while Howard Jones showed he could still innovate at 60 years of age when he launched ‘Engage’, “a highly interactive live experience designed to immerse audiences in an audio / visual feast”. A-HA came back after disbanding in 2010 with ‘Cast In Steel’ and DURAN DURAN recruited an all-star cast that included Nile Rodgers, John Frusciante, Kiesza and Lindsay Lohan for the rather disappointing EDM blow-out ‘Paper Gods’.

BLANCMANGE’s ‘Semi Detached’ was Neil Arthur’s first without long-time partner Stephen Luscombe and he even found time to release a wonderful instrumental collection entitled ‘Nil By Mouth’. Indeed, there were quite a few instrumental opuses in 2015, with GHOST HARMONIC’s wonderful ‘Codex’ featuring John Foxx and the electronic pioneer’s own glorious ‘London Overgrown’.

DEPECHE MODE’s Martin Gore released the tutorial for his new Eurorack modular system as the simply titled ‘MG’. 2015 saw the 25th anniversary of DEPECHE MODE’s ‘Violator’ and to ignore its significance, as some DM fan related platforms did, would have been incredibly short sighted. However, there was none of that from premier DM tribute band SPEAK & SPELL who played their biggest UK gig yet with a splendid boutique showcase of that landmark album at London’s Islington Academy.

CAMOUFLAGE, a band who started off very much under the influence of the Basildon boys, issued the mature statement of ‘Greyscale’ while continuing the DEPECHE MODE album theme, Athens based synth maidens MARSHEAUX gave a worthy of re-assessment of ‘A Broken Frame’ and procured a number of interesting arrangements for some under rated songs. DIE KRUPPS got more metal than machine on their fifth opus ‘V – Metal Machine Music’.

Fellow Germans BEBORN BETON made up for a ten year absence with ‘A Worthy Compensation’ while SOLAR FAKE and SYNTHDECADE also got in on the action too.

CHVRCHES continued their quest for world domination with something that LITTLE BOOTS, LA ROUX, LADYHAWKE and HURTS never managed… a decent second album. But PURITY RING, the Canadian act whose template CHVRCHES borrowed, must have looked over with a touch of envy at the Glaswegian’s success so responded with ‘Another Eternity’.

HANNAH PEEL released an interim mini-album ‘Rebox 2’ which blended centuries of music technology while VILE ELECTRODES came up with the gorgeous ‘Captive In Symmetry’, possibly one of the songs of 2015. EURASIANEYES heeded all the guidance available to them to produce their most accomplished song yet in ‘Call Your God’ and ANALOG ANGEL went on a well-received tour supporting Swedish veterans COVENANT with a message to listeners of ‘Don’t Forget To Love’.

Elsewhere in the British Isles, CIRCUIT3, RODNEY CROMWELL and SUDDEN CREATION made their first excursions into the long player format just as KID KASIO and KOVAK each delivered album number two while Berlin based Brit EMIKA helpfully titled her third opus ‘Drei’.

“So, what’s so special about Sweden then?” someone once rather cluelessly asked TEC. Well, it is the modern hub of inventive, electronic pop. KARIN PARK offered her profanity laden fifth album ‘Apocalypse Pop’.

Meanwhile SAY LOU LOU finally gave the world their ‘Lucid Dreaming’. SISTA MANNEN PÅ JORDEN offered to ‘Translate’ while TRAIN TO SPAIN told the world ‘What It’s All About’. And this was without feisty youngsters like ME THE TIGER and comparatively experienced hands such as PRESENCE OF MIND, DESTIN FRAGILE, CLUB 8, 047 and HILTIPOP all entering the equation too.

Still in Sweden, DAYBEHAVIOR went all female PET SHOP BOYS with the Italo flavoured ‘Cambiare’ and MACHINISTA followed up their debut ‘Xenoglossy’ with ‘Garmonbozia’. while there was also the unexpected return of alternative synthpopsters ASHBURY HEIGHTS.

But best of all were the mighty KITE; their ‘VI’ EP was a masterclass in epic, majestic electronic pop. In the rest of Europe, there was an influx of darker female fronted acts such as Hungary’s BLACK NAIL CABARET, Italy’s ELECTROGENIC, Greece’s SARAH P. and Germany’s NINA; the latter’s ‘My Mistake’ even ended up on a Mercedes TV advert. The male contingent did their bit too with Slovenia’s TORUL unleashing their second offering ‘The Measure’ while the prolific Finnish duo SIN COS TAN took things a little bit easier in their fourth year with just an EP ‘Smile, Tomorrow Will Be Worse’, having already released three albums since 2012.

Oslo based studio legend John Fryer returned with two new projects, SILVER GHOST SHIMMER and MURICIDAE featuring vocalists Pinky Turzo and Louise Fraser respectively. Both reminded listeners of his work with COCTEAU TWINS and THIS MORTAL COIL, but with an Americanised twist. The Icelandic domiciled Denver singer / songwriter JOHN GRANT added some funkier vibes to his continuing electronic direction while IAMX moved from Berlin to Los Angeles, and did no harm to his art with the brooding ‘Metanoia’ album.

On the brighter side of North America, PRIEST’s self-titled debut long player became reality following their dreamy ‘Samurai’ EP, while HYPERBUBBLE made available their wacky award winning soundtrack to the short film ‘Dee Dee Rocks The Galaxy’ and joyous 2014 London show. And GRIMES caught the music biz on the hop when she released a new album ‘Art Angels’, having scrapped an album’s worth of material in 2014.

But despite North America itself being one of the territories flying the flag for the synth with acts like NIGHT CLUB, BATTLE TAPES, AESTHETIC PERFECTION and RARE FACTURE all figuring, the worst single of 2015 actually came from the USA! Literally decades of synth heritage were eminently obliterated in five soul destroying minutes… was this really what the Electronic Revolution was fought for? This is cultural history and it needs to be protected.

Although the year had flashes of brilliance, it was generally less impressive overall for fledgling electronic artists, with a number forgetting that all important factor of a good tune! Eddie Bengtsson of SISTA MANNEN PÅ JORDEN remarked last year that synthpop was becoming a dying art.

And in 2015, synthpop’s credibility was further tarnished with lazy use of the term by the mainstream press for acts like YEARS & YEARS; one could argue that Taylor Swift and her ‘1989’ opus is possibly more synthpop than YEARS & YEARS have ever been! In a market where EDM appears to be king and clubbers are happy to witness DJs miming their two hour sets, there is clearly something wrong. Things were not helped by certain media outlets insisting that dance music was the only way; it was as if electronic music had somehow managed to jump from KRAFTWERK to Detroit techno with nothing happening in between.

jarre clarke

And then, there were those who had never particularly enjoyed music from that key Synth Britannia period, who were trying to dictate how modern electronic music was being presented and pretending it had popped out of thin air!

Some bands were not doing themselves any favours either, showing little empathetic connection to the history of electronic music in their deluded optimism that they were crafting something completely new! As Jean-Michel Jarre amusingly quipped to Sound-On-Sound magazine: “Lots of people in America think that electronic music started with AVICII and it’s not exactly the truth…”

The lack of accuracy in a number of publications over the last 18 months was also shocking, particularly within magazines and online media that continued to employ writers with a history of not knowing their tape recorders from their drum machines. This simply proved the old adage that just because someone is employed as a professional writer, it doesn’t actually mean they are a good writer!

MYSADCAT2015

Photo @MYSADCAT

The domestic live scene had its challenges too with slow ticket sales and a number of events cancelled. But even when some true legends in electronic music were booked, ticket sales could not be guaranteed and efficient promotion was needed to maximise potential.

Some observers were bemoaning a lack of support for the scene, but if line-ups are not particularly appealing, then audiences cannot be expected to invest time and money to attend. A number of organisational infrastructures also lacked credibility; if a promoter doesn’t have at least some idea if they’re going to sell fifty tickets or five thousand, then they really shouldn’t be in the business!

The question that has to be asked then is, has anybody actually learnt from the Alt-Fest debacle of 2014? It really would appear not! While ‘A Secret Wish’ and SOS#2 were a couple of the year’s better UK events, Europe showed once again how things should be done. Electronic Summer in Gothenburg and the Electri_City_Conference in Düsseldorf were two of the most notable electronic music events of 2015.

The inherent knowledge and sense of understanding in both differed immensely to some British promoters. This perhaps could explain why electronic pop has generally flourished more in territories across the North Sea. Electronic pop needs to continue to develop, but quality control must be maintained to ensure the genre is not publically misrepresented. SOFT CELL once sang about ‘Monoculture’ while KID MOXIE declared how everyone was just content with ‘Medium Pleasure’.

If all that’s heard is the best of a bad bunch, then younger listeners (and therefore potential future synth oriented musicians) will not be inspired. That is why it is important that CHVRCHES and EAST INDIA YOUTH consolidate their positions as modern electronic pop’s representatives in the mainstream.

It is not good practice to support mediocre music just because it happens to be electronic. The finest examples need to be set so as to show what can be achieved; now if that means possibly referencing back to the golden age of synthpop, then so be it. Only then will the synth baton be able to taken up by a new generation who can then truly reinvigorate it.

ELECTRICITYCLUB.CO.UK Contributor Listings 2015

PAUL BODDY

Best Album: EAST INDIA YOUTH Culture Of Volume
Best Song: NEW ORDER Restless
Best Gig: EAST INDIA YOUTH + HANNAH PEEL at London Village Underground
Best Video: BATTLE TAPES Valkyrie
Most Promising New Act: BATTLE TAPES

DEB DANAHAY

Best Album: IAMX Metanoia
Best Song: KITE Up For Life
Best Gig: NODE at The Royal College of Music
Best Video: IAMX Oh Cruel Darkness Embrace Me
Most Promising New Act: KITE

IAN FERGUSON

Best Album: EAST INDIA YOUTH Culture Of Volume
Best Song: KITE Count The Days
Best Gig: ASSEMBLAGE 23 at SOS#2 Festival
Best Video: VILE ELECTRODES Captive In Symmetry
Most Promising New Act: RODNEY CROMWELL

MONIKA IZABELA GOSS

Best Album: SILVER GHOST SHIMMER Soft Landing
Best Song: IAMX Happiness
Best Gig: IAMX at London Koko
Best Video: TORUL The Balance
Most Promising New Act: SYNTHDECADE

SIMON HELM

Best Album: LAU NAU Hem Någonstans
Best Song: ME THE TIGER As We Really Are
Best Gig: SISTA MANNEN PÅ JORDEN at A Secret Wish
Best Video: JUNO Same To Me
Most Promising New Act: REIN

CHI MING LAI

Best Album: SUSANNE SUNDFØR Ten Love Songs
Best Song: KITE Up For Life
Best Gig: FFS at The Troxy
Best Video: VILE ELECTRODES Captive In Symmetry
Most Promising New Act: RODNEY CROMWELL

RICHARD PRICE

Best Album: EAST INDIA YOUTH Culture Of Volume
Best Song: NEW ORDER Plastic
Best Gig: EAST INDIA YOUTH + HANNAH PEEL at London Village Underground
Best Video: VILE ELECTRODES Captive In Symmetry
Most Promising New Act: KITE

Text by Chi Ming Lai
16th December 2015

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