Tag: China Crisis (Page 5 of 9)

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2019

4 December 2019 /

2019 was good for new music. The first two thirds of the year was particularly strong for up-and-coming talent, while a number of veterans returned to making music with synths for the first time in many years.

Inevitably, the quality of new releases couldn’t be sustained and things tailed off during the Autumn period as artists shifted their focus towards the live arena. The launch of debut full-length releases by relative newcomers has tended to focus towards the winter in order to pitch to the deluge of tastemaker polls that are now prevalent both in mainstream and online media.

Of course, ELECTRICITYCLUB.CO.UK is unable to include everything in its 30 SONGS OF 2019, so worthy mentions go to SHOOK, CIRCUIT 3, KANGA, FRAGILE SELF, NINA, THE HEARING, JAKUZI, TR/ST, SPELLLING, I AM SNOW ANGEL, PET SHOP BOYS, NO-MAN, RIDER, FRAGRANCE. and T.O.Y. for their output this year.

As per usual with a restriction of one song per artist moniker and presented in alphabetical order, these are ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2019…

APOPTYGMA BERZERK A Battle For The Crown

Over the 25 years since his debut album ‘Soli Deo Gloria’ , Stephan Groth has straddled EBM, synthpop, futurepop, alternative rock and more recently instrumentals with APOPTYGMA BERZERK. For his first new material since 2016’s ‘Exit Popularity Contest’, the upcoming EP ‘Nein Danke!’ sees a return to the synthpop / new wave format. Part of a teaser single, ‘A Battle For The Crown’ offered a suitably matted austere but crucially did not forget the hooks or the melodies.

Available on the EP ‘Nein Danke!’ via Pitch Black Drive

http://www.theapboffice.com/

BOY HARSHER LA

Stark Massachusetts duo BOY HARSHER formed through an urgent need to produce and consume, so Jae Matthews and Augustus Muller utilised their minimal electronics and intense mindset to create a compelling narrative of deterioration. ‘LA’ featured a wonderfully incongruous mix of icy string synths and orchestra stabs for an enticing display of mutant electronic disco, all brilliantly sinister thanks to its varied use of effects and Matthews’ mournful demeanour.

Available on the album ‘Careful’ via Nude Club Records

https://boyharsher.com/

JORJA CHALMERS She Made Him Love Again

Jorja Chalmers is the sax and keys player for Bryan Ferry but while it was recorded in her boss’ studio, her first solo album ‘Human Again’ exuded a more sombre filmic disposition. Conceived and sketched in hotel rooms during the come down from playing to packed theatres around the world. ‘She Made Him Love Again’ was a song where Chalmers’ breathy vocals possessed a gorgeous forlorn allure and when the icy string machine and deep sax joined in, proceedings lifted to another level.

Available on the album ‘Human Again’ via Italians Do It Better

https://www.instagram.com/jorjachalmers/

LLOYD COLE Violins

Lloyd Cole had recorded an experimental electronic album ‘Selected Studies Vol 1’ with Hans-Joachim Roedelius of CLUSTER in 2013, while there was also a solo instrumental collection entitled ‘1D Electronics 2012-2014’. But he put all of that modular knowhow into a song based format with the charming synthy single ‘Violins’ which saw him turn into OMD! However the King of Glum Rock didn’t totally alienate his main fan base, with guitars making their presence felt in amongst all the machinery at the halfway point.

Available on the album ‘Guesswork’ via earMUSIC

https://www.lloydcole.com/

GARY DALY I Work Alone

CHINA CRISIS have been an unlikely influence on acts such as VILLA NAH and MIRRORS, but while these days their synthwork is less pronounced, front man and keyboardist Gary Daly took the plunge with a full length solo record entitled ‘Gone From Here’. The wonderful first single ‘I Work Alone’ acted as both a statement of intent and an affirmation in self-belief. A lovely whimsical piece of Casiotone folktronica, Daly said “it’s very much ‘Neon Lights’ meets ‘Autobahn’”

Available on the album ‘Gone From Here’ via https://www.musicglue.com/gary-daly

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

DAYBEHAVIOR Driving In My Car

With a range of tempo variation, ‘Based On A True Story’ was the undoubtedly the best album of Swedish trio DAYBEHAVIOR’s long if sporadic career. Including a number of more danceable numbers to counterpoint the more laid back aspects of their cinematic sound without losing any of their exquisite aesthetics, one of the best examples could be heard in the fabulous Europop number ‘Driving In My Car’. It was just one part of a priceless collection of quality Scandipop.

Available on the album ‘Based On A True Story’ via Graplur

http://www.daybehavior.com

FIAT LUX We Can Change The World

Nearly four decades is a long time to wait for a debut album, but with Wakefield’s FIAT LUX, it was been worth it. Recalling BLACK and CHINA CRISIS, the guarded optimism of ‘We Can Change The World’ provided a call to action in these turbulent times within an uptempo setting dressed with bubbling synths and rousing dual vocals sweetened by smooth sax. Steve Wright and David P Crickmore honoured their late band mate Ian Nelson in the best way possible with their recorded and live return.

Available on the album ‘Saved Symmetry’ via Splid Records

http://www.fiat-lux.co.uk/

GEORGIA About Work The Dancefloor

Georgia Barnes is the daughter of LEFTFIELD’s Neil Barnes and the former drummer for Kate Tempest. Although her eponymous debut album possessed a more urban DIY feel, her sound has recently moved into more accessible electronic pop territory. From upcoming second album ‘Seeking Thrills’, the gloriously throbbing workout of ‘About Work The Dancefloor’ took its lead from ROBYN with its rousing Scandipop sheen, offset by a creepy distorted vocal refrain.

Available on the album ‘Seeking Thrills’ via Domino Recordings

https://georgiauk.com/

GRETA White

A Copenhagen domiciled German, classically schooled Greta Louise Schenk teamed up with Norwegian producer FARAO to enter a dreamy synthpop universe. With its unusual rhythmic structure and chromatic overtones, ‘White’ could have been an art rock number? “I often wonder how this song came out of me” she said, “I actually wrote it on my Irish bouzouki, which may explain the chords. I was listening a lot to LANA DEL REY and it was quite a dark time in my life.”

Available on the EP ‘Ardent Spring – Part I’ via Celebration Records,

https://www.facebook.com/greta.geschenk/

HEAVEN Truth Or Dare

Another project of Johnny Jewel, HEAVEN first came to wider attention with the ‘Lonesome Town’ EP. Fronted by the enigmatic allure of singer and keyboardist Aja, the brilliant ‘Truth Or Dare’ perhaps unsurprisingly sounded like CHROMATICS but with more synths and drum machine. While on tour as keyboardist with DESIRE, Aja took the title literally when they performed a cover of NEW ORDER’s ‘Bizarre Love Triangle’ and Jewel watched nearby…

Available on the single ‘Truth Or Dare’ via Italians Do It Better

https://www.instagram.com/heaven_idib/

ALICE HUBBLE We Are Still Alone

ALICE HUBBLE is the new solo project of Alice Hubley, previously best known for fronting ARTHUR & MARTHA and COSINES. Hubley’s synth earth mother demeanour came to the fore on the sub-OMD of ‘We Are Still Alone’. While the lilting bass and elegiac transistorised melody were glorious, when the synth strings responded in that ASHRA style, it became perfect avant pop with Hubley sadly resigning to herself that she “couldn’t find the way to make me better”.

Available on the album ‘Polarlichter’ via Happy Robots Records

https://www.happyrobots.co.uk/alice-hubble

IMI I Feel Alright

Leeds based singer / songwriter IMI is gifted with a most glorious soprano but she applies that and her love of analogue synths to an intelligent avant pop aesthetic. ‘I Feel Alright’ with its sharp melodic call and ethereal voices headed into assertive optimism. This most promising young synth talent said to ELECTRICITYCLUB.CO.UK: “This song was written after a few years of struggling with some personal issues and it was a celebration of finally feeling ok and feeling hopeful about the future.”

Available on the EP ‘Lines’ via https://imimusicuk.bandcamp.com/

https://www.facebook.com/imimusicuk/

INTERNATIONAL TEACHERS OF POP Love Girl

Hailing from Sheffield, INTERNATIONAL TEACHERS OF POP and their world of academia would make “eccentric Northern electronic pop” compulsory on the curriculum. From their vibrant and accessible self-titled debut album, the bubbly ‘Love Girl’ was a luscious cross between DUBSTAR and THE HUMAN LEAGUE. Cosmic but catchy, their intelligent musical escapism has been just the tonic in these turbulent times. One of their manifesto statements is “Smile at the neon and the mirrorball”.

Available on the album ‘International Teachers Of Pop’ via Desolate Spools

https://www.facebook.com/internationalteachersofpop/

HOWARD JONES Hero In Your Eyes

Producing his most synthpop work in ages, originally from the ‘Eddie The Eagle’ film sessions, Howard Jones said of ‘Hero In Your Eyes’: “I was really drawn to the part where his parents were amazing, continuing to believe in him when he was obviously not really very good at what he’d chosen to do, they kept supporting him. So him being a hero in their eyes always, that ‘I’ll be there for you’ feeling, I thought that it was something a lot of people could relate to”

Available on the album ‘Transform’ via Dtox Records

http://www.howardjones.com/

KNIGHT$ Hijack My Heart

Coming over like the love child of Richard Butler and Neil Tennant, KNIGHT$ made synthwaves with his sparkly Britalo on his energetic debut album ‘Dollars & Cents’. The Hi-NRG romp of ‘Hijack My Heart’ aped BRONSKI BEAT complete with a closing bursts of falsetto as the Winchester lad tightened his glitzy clubbing trousers to full effect and even dropped in a blistering synth solo to add to the fun. It was a highlight on one of the best albums of 2019.

Available on the album ‘Dollars & Cents’ via Specchio Uomo

https://knights101.com/

LADYTRON Deadzone

LADYTRON produced their last offering ‘Gravity The Seducer’ in 2011. Their recent heavier self-titled reboot saw the quartet of Helen Marnie, Mira Aroyo, Daniel Hunt and Reuben Wu entering the ‘Deadzone’. Unsettlingly percussive and full of tension but hitting the spot with the right dose of melodic elements intertwined with haunting grit and grime, LADYTRON were back with a sucker punch. All in all, it was a fantastic comeback.

Available on the album ‘Ladytron’ via !K7

http://www.ladytron.com/

LIZETTE LIZETTE Computer Game

LIZETTE LIZETTE is Lizette Nordahl, a gender neutral Swedish / Peruvian producer and performance artist whose first mini-album album ‘Queerbody’ was released 2017. The beautifully sad Nordic synth ballad ‘Computer Game’ was written in tribute to a departed friend. Showcasing Nordahl’s more emotive side, it was a quality that had not been obviously apparent in LIZETTE LIZETTE’s more danced-based recordings.

Available on the EP ‘Non’ via https://lizettelizette.bandcamp.com/

http://lizettelizette.com/

MACHINISTA Anthropocene

Reflecting gloomier times, ‘Anthropocene’ saw MACHINISTA produce their most consistent body of work yet. Vocalist John Lindqwister and instrumentalist Richard Flow took their time in a refinement of their anthemic signature sound and the addition of some conventionally flavoured twists. The title song took its lead from the dark electronic pop of Norway’s APOPTYGMA BERZERK and owed more than a debt to the haunting riff of ‘Burning Heretic’ in the ultimate sorcerer’s apprentice spell.

Available on the album ‘Anthropocene’ via Infacted Records

https://www.machinistamusic.com/

MECHA MAIKO Apathy

Behind the quirky avant pop of MECHA MAIKO‬ is the talented Canadian Hayley Stewart. ‘Apathy’ from her new album ‘Let’s!’ can only be described as delightfully nuts, with an inventive mix of a jazz swing Charleston vibe, frantic techno dance beats and vibrant synthpop hooks. It showed she was not afraid to blend seemingly incongruous influences to get an end result and with a slight sprinkling of Japanese instrumentation to close, the eclectic creative cycle was complete!‬‬‬‬‬

Available on the album ‘Let’s!’ via ORO Records

https://www.mechamaiko.com/

KARIN MY The Silence

Swedish songstress Karin My sang with veteran combo TWICE A MAN on their poignant environmental catastrophe warning ‘High In The Clouds’ in 2105. Her solo single ‘The Silence’ was one of the first truly great songs of 2019. Swathed in beautiful synths and embroiled in that wonderful Scandinavian melancholy, her gorgeous vocals evoked a forlorn abandonment just as a wintery chill set in with the sad dilemma of whether to give up…

Available on the single ‘The Silence’ via Ad Inexplorata

http://www.karinmy.net/

MICHAEL OAKLEY Left Behind

The mighty Italo Disco statement of ‘Left Behind’ came complete with obligatory orchestra stabs and a rousing chorus, gleefully fusing SAVAGE, RAF, PET SHOP BOYS and BEE GEES within a big Trevor Horn styled kitchen sink! But despite the fun laden octave shift frenzy, the lyrics were concerned with midlife reflection. Michael Oakley said: “the song is about me feeling like everyone around me was getting settled in their career, getting married and taking out a mortgage.”

Available on the album ‘Introspect’ via NewRetroWave

https://www.facebook.com/MichaelOakleyOfficial/

OBLONG Echolocation

Every now and then, the world needs a lively unpretentious synth instrumental record. With the second OBLONG album ‘The Sea At Night’, the trio of Benge, Dave Nice and Sid Stronarch delivered a collection of rustic electro-acoustic organically farmed electronica! With mood and pace, ‘Echolocation’ was a classic synth instrumental with its crystalline textures and charming slightly off-key blips, aurally reflecting the remote moorland location in Cornwall where it was recorded.

Available on the album ‘The Sea At Night’ via Memetune Recordings

https://twitter.com/oblongtheband

OMD Don’t Go

OMD began their recorded career with a KRAFTWERK homage and four decades on, they came full circle. A great grandchild of Klingklang and cousin of ‘Metroland’ from ‘English Electric’ but refined for BBC Radio 2 airplay, ‘Don’t Go’ captured the essence of OMD’s enduring electronic appeal. With crystalline synth melodies from Humphreys and a spirited vocal delivery from McCluskey attached to a hypnotic Synthanorma backdrop, OMD continue to produce quality avant pop tunes.

Available on the album ‘Souvenir: The Singles Collection 1979 – 2019’ via Universal Music

http://www.omd.uk.com/

PLASMIC Famous

Feisty, fiery and on-message as “your abused Barbie doll from childhood”, Lauren Lusardi, better known as PLASMIC dropped yet another synth bomb with a vivid narrative on the fame game where women have to compromise and serve the male gaze to get to where they want. While pink is her colour, the rugged lo-fi cocoon of anxious sound penetrated the soul with a raging reminder that if “You wanna be famous?”, then really “Don’t be so f*cking brainless!”

Available on the single ‘Famous’ via CandyShop Recordings

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

QUIETER THAN SPIDERS Komarov

“Beautiful melodies telling me terrible things” said a cartoon meme… with echoes of OMD, the life and death of the tragic Soyuz 1 cosmonaut Vladimir Komarov was captured poignantly in this instrumental by QUIETER THAN SPIDERS from their brilliant debut album ‘Signs Of Life’; Yi Fan from the anonymous Chinese synth trio said: “we were moved by the human story behind it all together with the haunting backdrop of primitive space experimentation.”

Available on the album ‘Signs Of Life’ via https://annaloguerecords.bandcamp.com/album/signs-of-life-2cd-version-master

https://www.facebook.com/QTSpiders/

SOFTWAVE No Need To Hide

Danish duo SOFTWAVE have been gaining momentum with endorsements from luminaries such as ex-members of THE HUMAN LEAGUE Jo Callis and Ian Burden, while improving enormously since their 2016 debut EP ‘Together Alone’. Punctuated by machines of ice, ‘No Need To Hide’ was undoubtedly Clarkean, celebrating positivity in possibly SOFTWAVE’s finest moment yet with one of those rousing Scandipop choruses and coming over not unlike Celine Dion fronting ERASURE.

Available on the album ‘Game On’ via https://softwave.bandcamp.com/

http://www.softwavemusic.com/

FIFI RONG Way Out

The powerful electro R’N’B tinged ‘Way Out’ was the first English language taster from Beijing-born songstress’ ambitious new Anglo-Mandarin bilingual album project. Fifi Rong said of her concept: “I’m making a double album. One album in Chinese and the other in English. Not the typical type of translation type of bilingual album from one language to another… So the two albums are all individual songs interlinked in sounds, themes, vibes.”

Available on the single ‘Way Out’ via W Records

http://www.fifirong.com/

US Voyager

Andrew Montgomery, best known as the vocalist of GENEVA who scored hits with ‘Into The Blue’ and ‘Best Regrets’ in 1997, teamed up with Leo Josefsson of Stockholm trio LOWE to form the electronic duo US. If Jeff Buckley had dumped his Fender Telecaster for a Korg MS20, then that is the dark anthemic sound of US. ‘Voyager’ went all spacey avant trance in a wonderful cross-pollination of styles that came over a bit like MUSE at Gatecrasher.

Available on the album ‘First Contact’ via US Music Space

http://www.usmusicspace.com/

WITCH OF THE VALE Trust The Pain

It was a big year for WITCH OF THE VALE as their highly spirited otherworldly sound, deeply rooted in Celtic folklore and Wiccan beliefs, found a sympathetic audience at Infest 2019. The eponymous track from their second EP introduced serene, yet uncertain feelings channelled via clear but eerie vocals over the croon from a raven. This angelic ballad put all the fears to sleep and demonstrated how Erin and Ryan Hawthorne sound are like nothing else within the world of modern electronica.

Available on the EP ‘Trust The Pain’ via https://witchofthevale.bandcamp.com/

https://www.facebook.com/witchofthevale/

OLLIE WRIDE The Driver

Although best known as the lead vocalist for FM-84 on ‘Running In The Night’, Ollie Wride unleashed his debut solo album in 2019. The Driver’ put into dynamic realisation as to what SIMPLE MINDS might have sounded like had Moroder-graduate Keith Forsey produced the 1985 ‘Once Upon A Time’ album instead of Jimmy Iovine and Bob Clearmountain. The superb grouchy synth rock saw the Brighton boy successfully pull off a cross between Jim Kerr and Billy Idol!

Available on the album ‘Thanks In Advance’ via NewRetroWave

https://www.facebook.com/olliewrideofficial/

ELECTRICITYCLUB.CO.UK’s has compiled a playlist of some of its favourite music from 2019

Text by Chi Ming Lai
4th December 2019

FIAT LUX Live at St Clements C of E Church

26 October 2019 /

Between 1982-1985, FIAT LUX released six singles which showcased their electronically assisted melancholic pop sound with a distinct dual vocal harmony and a rooted emotional centre.

The trio of Steve Wright, David P Crickmore and Ian Nelson were critically acclaimed with BBC Radio1 airplay and a notable appearance on ‘Old Grey Whistle Test’ as part of a synthesizer special alongside KRAFTWERK and Jean-Michel Jarre.

Meanwhile, FIAT LUX also opened on tours for BLANCMANGE and Howard Jones. They even had a Channel 4 TV special which later became the ‘Commercial Breakdown’ video release in 1985 but by then, the trio had disbanded under the spectre of disillusionment following the shelving of their already complete debut album by Polydor Records.

Ian Nelson sadly passed away in 2006 but interest in FIAT LUX continued through the internet with the leaking of that debut album under the title of ‘Fac Ut Vivas’. Fast forward to 2019 and it’s rather a nice time to be a FIAT LUX fan.

Not only have Steve Wright and David P Crickmore reunited as FIAT LUX, but there has finally been a debut album of all-new material ‘Saved Symmetry’. Meanwhile, that unreleased debut album has been issued by Cherry Red Records using the title ‘Ark Of Embers’ as a bonus disc with a definitive singles compilation ‘Hired History Plus’.

Churches formed part of the backdrop in ‘Commercial Breakdown’, so St Clements C of E Church in Bradford was the ideal serene setting for the first FIAT LUX concert in 35 years. Opening with the desolate filmic drama of ‘Tuesday’, multi-instrumentalist Crickmore took to the stage first on acoustic guitar.

With the song’s understated vocals holding off until nearly three minutes in to create mood and tension, Wright joined his bandmate before deputising for the late Ian Nelson, Will Howard arrived on clarinet to counterpoint the pre-programmed washes of Morricone-styled synthetic strings.

Before there was time for a breather, the incessant drum machine of ‘Feels Like Winter Again’ echoed around the church. The very first FIAT LUX single (produced by Bill Nelson, brother of Ian), its ambiguous despair and forlorn chill reflecting the trauma of young manhood was perfect for a cold rainy night in the North of England’.

From the oldest FIAT LUX single to the most recent, ‘Everyday In Heaven’ declared that getting older was actually a positive with up-for-life lyrics about embracing second chances. Following on, the gorgeously evocative ‘Photography’ looked back with photos of the original projected as a backdrop with Howard doing a superb job of emulating his talented predecessor.

The progressive ‘Hold Me While You Can’ showed how FIAT LUX are still not afraid to merge contrasting musical templates with a steady build from piano and woodwinds suddenly turning into TUBEWAY ARMY’s ‘We Have A Technical’.

‘The Moment’ from ‘Ark Of Embers’ mellowed proceedings with the solemn air of Scott Walker before ‘We Can Change The World’ made a call to action in a lively uptempo manner like BLACK meeting CHINA CRISIS. At this point after an understandably nervous start, Wright began to loosen up with some dancing and flashes of those animated arm movements that characterised his appearance on ‘Old Grey Whistle Test’ all those many years ago.

Meanwhile, moving between acoustic and electric guitar, bass and Roland Jupiter 50, Crickmore performed like he had never been away from FIAT LUX, his facial expressions unable to hide his bouncing delight at being able to perform these wonderful songs to an appreciative audience.

Described by their producer Hugh Jones as the slowest song he had ever recorded, ‘Embers’ recalled PINK FLOYD’s ‘Wish You Were Here’ to gently subside the mood, but well-positioned to provide another rhythmic lift was ‘It’s You’; the first new FIAT LUX song for 33 years at the time of its release in 2018, it lyric about finding love again in midlife was a sentiment that many present could totally relate to.

The elegiac cinematics of ‘Calling On Angels’ allowed for another moment of musical contemplation with more superb sax playing from Will Howard, until it was time for the brilliant widescreen synthpop of ‘Solitary Lovers’, a tune that was effectively the last FIAT LUX song until 2018.

On the home straight, ‘Splurge’ offered some enjoyably screechy gothic disco with Crickmore playing the guitar hero, until the main set closed with the magnificent ‘Blue Emotion’, a song that really should have been a huge hit in 1984.

Reflecting the gung-ho zeitgeist of the times, its stark observations were now more than relevant in today’s unpleasant political climate. Returning for a well-deserved encore, it had to be the haunting ‘Secrets’.

A 1983 single which highlighted the deeper introspection that set FIAT LUX apart from many of their contemporaries, it has over the years become their signature song, as signified by the 2017 re-recording that heralded a tentative return.

However, it took a few false starts but once Wright got through the first verse, there was an almighty cheer from the audience and smiles from the band, probably through a sense of relief that this first FIAT LUX show for three and a half decades was finally now done and dusted. A fabulous evening exuding charm and warmth, Wright was in fine voice and ably supported by Crickmore, while Will Howard played the perfect tribute to Ian Nelson.

It was a largely flawless display of old and new angst and affection that proved how FIAT LUX were criminally overlooked back in the day. But now is the perfect time for them to get some well-deserved recognition. With a vinyl LP release of ‘Ark Of Embers’ on the way, FIAT LUX are indeed back-back-BACK!

Yes, it was well worth the 35 year wait!

‘Saved Symmetry’ is released by Splid Records through Proper Music Distribution, available in CD and digital formats from https://www.propermusic.com/splidcd21-saved-symmetry.html

‘Hired History Plus’ is released by Cherry Red Records in double CD and digital formats featuring ‘Ark Of Embers’, available from https://www.cherryred.co.uk/product/fiat-lux-hired-history-plus-2cd-expanded-edition/

‘Ark Of Embers’ gets a standalone vinyl LP release on 15th November 2019 via Splid Records

http://www.fiat-lux.co.uk

https://www.facebook.com/Fiatluxofficial

https://twitter.com/fiatluxofficial

https://open.spotify.com/artist/2GGpvPlY3LVxXSvYuOUUqL

Text and Photos by Chi Ming Lai
26th October 2019

LLOYD COLE Guesswork

27 July 2019 /

 

It was Maurice Ravel who once said: “Whatever sauce you put around the melody is a matter of taste. What is important is the melodic line”.

What Lloyd Cole has always managed within his songs throughout his career, be it ‘Perfect Skin’, ‘Rattlesnakes’, ‘Are You Ready To Be Heartbroken?, ‘Brand New Friend’ or ‘Like Lovers Do’ is strong melodic lines. Coupled with his bittersweet lyricism, he has been one of the UK’s leading exponents of masterful glum rock. But for ‘Guesswork’, he has put synthesizers and drum machines into his textural palette.

Cole actually first experimented with synthesizers and songs on 1993’s ‘Bad Vibes’, but considering it an artistic failure, it led to the songsmith keeping his future electronic interests purely instrumental and his songwriting traditional, and “never the twain shall meet”.

Cole eventually recorded an experimental album ‘Selected Studies Volume 1’ with German legend Hans-Joachim Roedelius of CLUSTER in 2013. Released by Bureau B, custodians of the iconic Sky Records back catalogue, there was also a solo instrumental collection entitled ‘1D Electronics 2012-2014’.

Self-produced in Massachusetts and mixed by German producer Olaf Opal, despite reuniting with two former Commotions bandmates Neil Clark and Blair Cowan for the first time since 1987’s ‘Mainstream’, ‘Guesswork’ focusses on synthesizers and programming. Referencing CHINA CRISIS and PREFAB SPROUT, Cole has also expressed a love of SUICIDE, ULTRAVOX, PET SHOP BOYS and LCD SOUNDSYSYTEM.

Certainly the application of his synthesizer knowhow became fully realised for the album’s wonderful first single ‘Violins’. On first impression, Cole appears to have turned into OMD, but the man himself cites Robert Palmer’s cult electronic pop favourite ‘Johnny & Mary’ as its main inspiration, especially in its incessant synthbass and Motorik backbone. The violin is often seen as a symbol of self-pity and while the move might have surprised his regular fanbase, ‘Violins’ did include a hefty guitar solo at its conclusion to not totally alienate them.

Not in a dissimilar vein to ‘Violins’, the shimmering ‘Moments & Whatnots’ is the most KRAFTWERK-esque of the eight tracks on ‘Guesswork’, with its simplistic electronic percussion and synthetic sparkles recalling ‘Neon Lights’. But as a song and in its afflicted delivery, it couldn’t really be anyone else but Lloyd Cole.

However, the biggest surprise comes with ‘When I Came Down From The Mountain’, a bouncy drumbox driven synthpop number. With jazzier electronic inflections that Thomas Dolby would have been proud of, its chorus even nods towards the era of Dolby-produced PREFAB SPROUT.

Meanwhile with some kosmische modular sequencing, ‘Night Sweats’ utilises a pentatonic aesthetic that wouldn’t have sounded out of place on an early CHINA CRISIS record, although some eagle-eared listeners will point a finger towards THE CLASH’s ‘Straight To Hell’.

But ‘Guesswork’ begins with an almost silent ambient drone; while in ‘Stranger Things’, they fear ‘The Upside Down’, Cole muses hauntingly about the aura of ‘The Over Under’.

Meanwhile on the cinematic ‘Remains’, synths beautifully substitute for orchestrations and brass arrangements in the manner of THE BLUE NILE. These songs cleverly offer the new electronic direction without being too threatening, a subtle change of sauce without ruining anyone’s appetite.

Decorated with some great E-bowed six string, the solemn swinging overtures of ‘The Afterlife’ show that Cole has learnt from John Grant, probably the best known modern day defector from the traditional to the electronic, while ‘The Loudness Wars’ provides a relatable metaphor to the breakdown of a relationship in a fine hybrid synth and guitar closer, swathed in glorious midlife angst.

Yes, his poetic melancholy does remain, but as Lloyd Cole recently said: “Now I’m starting to think that old age could be a lot more fun. Because really what have we got to lose?”

After all, how many veteran singer-songwriter guitarists decide that electronics are the way to go? Whether long-standing enthusiasts or new admirers, many will find a lot of joy within Lloyd Cole’s sophisticated artistic diversion on ‘Guesswork’.

‘Guesswork’ is released by earMUSIC in CD, vinyl LP and digital formats

http://www.lloydcole.com/

https://www.facebook.com/Lloyd.Cole.1961

https://twitter.com/Lloyd_Cole

https://open.spotify.com/album/5lyyYxXn40x0f7ODFVgzS3

Text by Chi Ming Lai
27th July 2019

LLOYD COLE Violins

7 June 2019 /


LLOYD COLE & THE COMMOTIONS were the kings of Glum Rock.

But for a 2015 German tour,  Lloyd Cole announced: “I’m calling these shows LIVE ELECTRONICS, and I should be clear here – there will be none of my songs performed, I will not be singing at all, or playing guitar. My instrument will be my modular synthesizer, along with some effects units and maybe a keyboard.”

Despite being a purveyor of jangling poetic indie tunes like ‘Perfect Skin’, ‘Rattlesnakes’, ‘Are You Ready To Be Heartbroken?’ and ‘Brand New Friend’, Cole had actually been experimenting with electronics since 2001’s ‘Plastic Wood’ and recorded an album ‘Selected Studies Vol 1’ with Hans-Joachim Roedelius of CLUSTER in 2013. Released by Bureau B, custodians of the Sky Records back catalogue including works by Michael Rother, Conny Plank and Harald Grosskopf amongst others, there was also a solo instrumental collection entitled ‘1D Electronics 2012-2014’.

But Cole has been putting that modular knowhow into a song based format with a charming new synthy single ‘Violins’ in which he seems to have turned into OMD! However, not totally alienating his main fan base, guitars make their presence felt amongst all the machinery about two thirds of the way through.

‘Violins’ is from Lloyd Cole’s new album ‘Guesswork’ which has been self-produced in Massachusetts and mixed by German producer Olaf Opal. Despite reuniting with two former bandmates Neil Clark and Blair Cowan for the first time since 1987’s ‘Mainstream’ long player, ‘Guesswork’ credits ‘synthesizers’ and ‘programming’ rather a lot while the man himself has recently talked of his guitar as “going, going but not quite gone”.

As well as referencing CHINA CRISIS and PREFAB SPROUT, Cole has also expressed a love of SUICIDE, ULTRAVOX, PET SHOP BOYS and LCD SOUNDSYSYTEM, while stating that ‘Guesswork’ is predominantly an electronic album, fashioned from classic and modern keyboard, modular and drum synthesizers with occasional guitar.

Asked whether the remaining songs on ‘Guesswork’ would be of a similar vein to ‘Violins’, he replied on Twitter: “No. The instrumentation is similar. Hopefully the songs go together nicely.”

While some will not necessarily appreciate Cole’s new direction, he has no qualms about the joy of his artistic diversion: “When I was 27, the concept of the washed up older guy seemed very entertaining. Now I’m starting to think that old age could be a lot more fun. Because really what have we got to lose?” 

‘Violins’ is from the new album ‘Guesswork’ released on 26th July 2019 by earMUSIC in CD, vinyl LP and digital formats

http://www.lloydcole.com/

https://www.facebook.com/Lloyd.Cole.1961

https://twitter.com/Lloyd_Cole

Text by Chi Ming Lai
7th June 2019

GARY DALY Interview

30 May 2019 /

Gary Daly is best known as the lead vocalist and synth player of CHINA CRISIS. For the Kirkby lad, it was the ideal vehicle to creatively channel his love of Brian Eno, David Byrne and Howard Devoto.

Together with bandmate Eddie Lundon, the pair have released seven acclaimed albums in a recording career that began in 1982. At their commercial peak, they netted four Top20 singles ‘Christian’, ‘Wishful Thinking’, ‘Black Man Ray’ and ‘King In A Catholic Style’.

While CHINA CRISIS continue to tour regularly and issued their most recent long player ‘Autumn In The Neighbourhood’ in 2015, Daly has taken the plunge with a full length solo record entitled ‘Gone From Here’.

The 12 track offering is an intriguing atmospheric mix of acoustic and electronic palettes straddling pop, folk, jazz and classical with The Royal Liverpool Philharmonic Orchestra and harpist Tom Moth among the many guests on the record.

Also featuring is John Campbell of IT’S IMMATERIAL who reprises his spoken mannerisms from ‘Driving Away From Home’ on ‘Carousel Of Stars’ over a drum machine backbone and some beautiful synth ‘n’ sax. Not on the album but appearing in spirit, the artist formally known as Antony Hegarty is paid a touching tribute by Daly in a ballad called ‘Antony’.

The wonderful first single ‘I Work Alone’ acts as a statement of intent as well as an affirmation in self-belief, while the wistfulness of ‘Write Your Wrongs’ and the uptempo Scouse Soul of ‘Time It Takes’ both offer familiar aesthetics that will satisfy fans of classic CHINA CRISIS.

As reflected by ‘In The Cloudy Domain’, ‘Dead Of Night’ and the closing title song, the album sensitively deals with the themes of pain and loss as a melancholic audio diary of midlife. Richly melodic with dreamy synths and Daly’s distinctive afflicted voice taking centre stage, there is however a hopeful optimism for what remains.

While on a UK tour with Howard Jones, the CHINA CRISIS frontman kindly talked about his continuing artistic motivations, digging out his old synths and much more…

You had two solo mini-album releases before with ‘The Visionary Mindset Experience’ in 2007 and ‘How To Live & Love Your Life’ in 2008, so what inspired you to do a full-length record?

Basically I had been in the middle of making my debut solo long player when I realised there was way too much interest for a new CHINA CRISIS album for me to even consider finishing my solo album. I had recordings which featured both Kevin Wilkinson and Gazza Johnson… so it was just a matter of getting Eddie involved and then Brian McNeil… and I was of a mind, well, that’s the classic Chinas line up right there…

I’m very pleased with the way ‘Autumn In The Neighbourhood’ turned out… and most importantly the fans loved hearing us together again… so it was all worth it in the end… and it allowed me to get back to finishing my solo album. . .which I have now done and yikes! No turning back now, arrrgghh!!

How do you look back on ‘Autumn In The Neighbourhood’?

Making ‘Autumn…’ involved a great many people, all determined to make the very best record we could… I think everything about it works well… from the title to the artwork to the music it contains. The fact the fans likened it to some of our very best recordings, well, that was just marvellous…

It was hard work at times and a huge learning curve, everything from the new technologies to managing budgets. It really did empower us as artists, taking control of every element of the process, very liberating… we are now, truly, indie!

So apart from the obvious, how does your solo venture differ conceptually and musically to CHINA CRISIS?

Well, it’s a very very personal record and I really don’t understand how it differs, other than when I listen back to it. I am completely connected to every single line being sung and know what exactly what I’m singing about… and the feel of every song has emanated from me. I don’t question the arrival of songs, I just go with the process and sometimes that process can last a long time and the song / idea can change / mutate as I go along. But you learn to be patient and delight in the process. Musically, I’d say it’s very much more early Chinas than it is late Chinas…

‘Gone From Here’ seems to have a more distinctly English feel than ‘Autumn In The Neighbourhood’?

Yeah, I love that fact I seem to have found my “Northern Englishness” again… when I listen to the ‘Fire & Steel’ or ‘Difficult Shapes’ albums, that music could not have been written anywhere other than the northwest of England and I love that sound soooo much.

The fact my new album is resonating the same kind of sound / feel, that’s deffo something to do with me getting back to my synth / songwriting roots. With ‘Autumn’, I still think it’s very English sounding but I think maybe there’s a polish, a sheen there that gives it an overall AOR feel… which is no bad thing… but not really something that interests me much…

The opening song ‘Write Your Wrongs’ appears to hark back to the earlier period of CHINA CRISIS?

I must admit, I’m hearing that from lots of people, and I’ve not really the foggiest what that means…. is it the drum machine, is it the vocal? I‘ll tell yer what though, the second verse has a lyric “say what you want, but just don’t be a c**t , no don’t be that way”, I like that lots, especially in these testing times… Brexit, Trump, rise of the right etc etc… I do love ‘Write Your Wrongs’, if anything it reminds me of the band AIR which I’m very pleased about…

‘I Work Alone’ is a lovely whimsical piece of Casiotone folktronica, how did that come together?

Ha Ha! Believe it or not, I started at the piano and immediately thought “OOOOOooo lovely I’ve got a Philip Glass thing on the go”! Then of course I started singing along… then, when I got into the studio, I needed a “click” to play and sing along to and BOOM! It suddenly became a bit KRAFTWERK, it’s very much ‘Neon Lights’ meets ‘Autobahn’ and one of my very fave tracks on the album… quite simply, it’s all a bit perfect pop… I never tire of hearing it.

‘Carousel Of Stars’ is available as a free download and sees John Campbell of IT’S IMMATERIAL doing a monologue in the introduction?

I had the song all finished with myself doing lead vocals and didn’t like it! So I made up an instrumental version and started to mimic John talking over it, then had the idea to actually ask John… he’s a bit of a neighbour of mine, so that’s what I did. John went away to his studio and wrote this beautiful spoken word song, I then added the chorus and yeah, it’s a beautiful thing with a lovely back story… but I’ll let John reveal that when he gets his IT’S IMMATERIAL album out which he is busy sorting at the moment.

The album features a prominent use of synths, did you dust off your Jupiter 8? Do you consider it as classic vintage instrument as a Hammond Organ, Fender Stratocaster or a Gibson Les Paul?

Absolutely my fave synth of all time bar none… I got my original JP8 just before the making of the ‘Fire & Steel’ and it was such an incredibly user friendly synth, knobs and faders , that’s what I like… we used a great many what would be called classic synths, the Juno 60, DX7 and producer David Berger had his Korg Poly Six, a Chinas classic… I’d used the Korg Poly Six on everything from ‘Christian’ to ‘Wishful Thinking’, so it was magical having all these synths back in the studio… absolute heaven and I’m hoping people will hear them and love hearing them again.

You started with a Yamaha CS10, Roland SH2 and Octave Cat, how do you view synthesizer technology now and what do you think of VSTs?

The Yamaha CS10 we got from Eddie’s mum’s catalogue and it was a revelation… add some reverb / echo delay and it sounded amazing. I’m not mad keen on the new synths, I’ve no real interest… I write at the piano, sometimes a guitar and then in the studio, get everything together I love working with. A pal even brought along a Yamaha SPX 90 effects unit, Eddie and myself both had one of these back in the day and they are wonderful, we had so much fun applying the effects. So for me now , it’s all about the song and not the soundscape… the soundscape is something that happens naturally along the way. So I keep the design of the song very simple, voice / instrument… then, once in the studio, it all becomes alchemy… MAGIC so to say!

The more acoustic ‘Of Make Do & Mend’ hints at THE ART OF NOISE ‘Moments In Love’ in its intro…

Ha Ha! Yes it does a little… but you would have to ask Tom Moth, harpist with FLORENCE & THE MACHINE about that, he played those notes , not me… ahaaa! I think the song is actually one of the most romantic songs I’ve ever written and if you replaced my vocal with Kate Bush, it could easily be off her ‘Lionheart’ album… I do like early Kate…

The reflective closing title song is very poignant, is it about any people in particular?

Very much so… firstly, it’s all about Mrs Weir and myself and us growing up together… and then there’s all the people I have called friends, family and they are gone… for all manner of reasons they are gone, gone from here… and I find it one of the saddest things we learn to endure… I love the middle 8 of this song and how it’s incredibly positive… like yeah, it’s sad but there’s hope, always hope… onwards, upwards…

You put a 15 minute ‘Ambient Musics’ teaser on YouTube “from and / or inspired by the album” which recalls the brilliant CHINA CRISIS instrumental B-sides like ‘Watching Over Burning Fields’ and ‘Dockland’, would you like to explore this area again as a future project?

That’s very kind of you to say… I have indeed got an album of ‘Ambient Musics’ ready for release, it’s called ‘Luna Landings’, a little nod there to Brian Eno’s ‘Apollo: Atmospheres & Soundtracks’. I will be giving it away as a free download… it’s soooo lovely, all my little recordings from the 80s. I love it sooo much and can’t wait for people to hear it .

‘Gone From Here’ has been mixed by Mark Pythian who you have worked with on your last three albums, was it important to have a familiar face for this?

Mark, in my humble opinion, is one of the most gifted people I’ve worked with, we go way back and yeah, it was always gonna be Mark mixing ‘GFH’, his ears are Grammy Award winning lug holes. We first met in ’83, when he was getting some work experience at Amazon Studios working on our ‘Fire & Steel’ sessions. It’s been so lovely handing over the tracks to Mark and seeing him take his time delivering his audio-vision of what my songs should sound like. I must admit, I’ve been in total agreement with every mix he’s done on the album… amazing man.

CHINA CRISIS have worked with a diverse portfolio of producers like Gil Norton, Peter Walsh, Mike Howlett and Walter Becker, do you have any particular memories or fun stories from working with them?

Crikey! That’s way too much question, right there… how could I possibly convey what it’s been like to work with all those great people? I will say this though, I have very very lovely memories of working with every one of them and the way they were so kind and generous to Eddie and myself and the band… every one of them. It’s usually the case, well, in my experience, that the most gifted people are usually the most generous with their time and talent… and everyone you’ve mentioned was certainly that… and if I could meet them all again, I would most deffo shake their hands and say a big big “thank you”.

‘Autumn In The Neighbourhood’ used Pledge Music to fund its recording; with the well-documented problems of Pledge Music, how did you support the recording of ‘Gone From Here’, especially as there are quite a lot of musicians involved including The Royal Liverpool Philharmonic Orchestra?

There’s a song on there you mentioned earlier, ‘Of Make Do & Mend’ and that’s exactly what I did… a favour here, a little session there, all the time believing I was asking the right people, at the right time, to do the right thing and get involved. If you’re lucky , you learn very early on there’s people in it for all the right reasons… and the best you can do, is to aspire to be one of those people… and when that happens, you really can “make things happen“ monies or no monies…

How do you find the today’s music business landscape? What are the various advantages and disadvantages for you as an independent artist?

I don’t really understand the business now, but I never really have had much understanding of “business” full stop. And why would I? Sure CHINA CRISIS would have done a lot better had we had more knowledge of the business and Eddie teaches kids in Macca’s fame school, the pitfalls etc etc.

But really, I’m more about the art of just keeping on, keeping on… and to continue enjoying it. And I must admit the indie aspect of us releasing our own records… well, that’s a little like how we started and I absolutely love it. What’s not to like, in charge of everything, from the first note recorded to the finished record posted and delivered… now that, in my book, is taking care of business.

You once described ‘African & White’ as your ‘X-Factor’ moment and here you are, still making music and touring?

Yes, please make it stop! Ahaaaa! Only messing! Well, I am in the best band to come out of Kirkby, East Lancs, Liverpool. And the writing, every step I take is a song. Music is in my head almost all of the time, I’ve written a song about it…”God knows how it works, it’s a blessing and it’s a curse, only messing, it’s much worse…”

Touring with the Chinas now is way more enjoyable than back in the day… then it sort of all got consumed with having to promote the single or album, now it’s all about us trying our best to just enjoy the concert and night, each and every place we visit.

The first three CHINA CRISIS albums ‘Difficult Shapes & Passive Rhythms’, ’Working With Fire & Steel’ and ‘Flaunt The Imperfection’ were given the deluxe reissue treatment in 2017, how do you look back at that period on how the band developed from post-punk to getting ‘Smash Hits’ front covers?

The first three albums or as I like to call them “The Trilogy” are my fave China albums and in that order, ‘Shapes’, ‘Fire &Steel’ and ‘Flaunt’… we were so fearless and got to work with some amazing people and chime with the times, that just doesn’t happen every day. I’m not too keen on living in the past, so don’t really pay it much mind.

I would like to think we made each and every transition, musically, because we made the right choices and worked with the right people and really made the most of every opportunity. After all, when we worked in places like the Manor Recording Studio in Oxford, all the time I’d be thinking “Crikey! ‘Tubular Bells’, ‘Rubycon’! We are here in the most magical of music making places…”

Which CHINA CRISIS album means the most to you and why?

‘Difficult Shapes’… I love all the songs, I love the way Ed and me from the off were not a “band” and we made the most of every musician who contributed to our songs. And just everything about the making of that record was a bit mental, we kept firing producers, top flight people. But like I said, we was fearless and trying to make a record as great as the ones we loved, we failed but we certainly tried…

Have you been surprised about the musical impact that CHINA CRISIS have had in modern electronic pop acts like MIRRORS and VILLA NAH?

MMmmmm! Well, yes… I liked a quote I once heard that said if there was no CHINA CRISIS, there would be no BELLE & SEBASTIAN… I think that’s fair to say… as for “impact”, I’m not sure that’s the right word.

1994’s ‘Warped By Success’ was an excellent CHINA CRISIS album that is under rated and kind of got lost, will that ever hit the public domain again?

Yes, I hope so… Eddie and myself demo’d that album with Mark Phythian… I should imagine we’ll release that version, it’s well better than the actual record that was put out.

The CHINA CRISIS ‘Synthpop Quartet Fun & Laughter Show’ continues at selected venues this Autumn, so for those who are not aware, what is the format?

Well, it’s a four piece, Jack Hymers on keys, programming and vocals, Eric Animan on sax and percussion, Eddie and myself… and we like to have a bit of a fun time on stage which helps make every gig a bit of a one off…

I can’t really describe it other than you’d have to bop along and check it out… it’s quite electronic, so we get to play lots of our early electronic tracks which we don’t really get the chance to perform with the full band.

What’s next and will there be solo dates to go with ‘Gone From Here’?

Touring with the Chinas a lot and I mean a lot… and no, no solo shows… I’m not keen!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Gary Daly

Special thanks to Julie Eagleton

‘Gone From Here’ is released on 31st May 2019 in CD and vinyl LP formats, available direct from https://www.musicglue.com/gary-daly where there is also a link for a free download of ‘Carousel Of Stars’

The CHINA CRISIS ‘Synthpop Quartet Fun & Laughter Show’ 2019 dates include:

The Picturedrome (12th July), Darwen Library Theatre (20th July), Wigan The Old Courts (6th September), Reading SUB89 (13th September), Leamington Spa Zephyr Lounge (20th September), Southampton Engine Rooms (27th September), Worcester Huntingdon Hall (3rd October), Torrington Plough Arts Centre (10th October), Portishead Somerset Hall (11th October), Birmingham PizzaExpressLive (18th October), Cardiff Acapela (19th October), York Fibbers (2nd November), London Holborn PizzaExpressLive (8th November), St Neots Town FC (9th November), Tunbridge Wells Forum (16th November), Wolverhampton Robin 2 (17th November), Derby The Flowerpot (30th November), Kinross Backstage (7th December), Dundee Clarks (8th December), Liverpool Cavern (13th December), Glasgow Oran Mor (14th December), New Brighton Floral Pavilion (21st December)

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

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

Text and Interview by Chi Ming Lai
30th May 2019

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