Tag: China Crisis (Page 6 of 8)

A Short Conversation with HOWARD JONES

6 May 2019 /

Photo by Simon Fowler

Celebrating the 35th anniversary of his debut album ‘Humans Lib’, synth veteran Howard Jones will be touring UK theatres in May.

The tour also signals the launch of his brand new album ‘Transform’ which features the sparklingly catchy ‘Hero In Your Eyes’ and ‘Tin Man’, a distant musical relative to early B-side ‘Change The Man’ with its piano motif. Both songs reflect the long player’s distinctly classic synthpop feel with electronically derived rhythms and sequencers.

As well as driving numbers such as ‘Eagle Will Fly’ and ‘Take Us Higher’, the other songs on ‘Transform’ range from the chanty electro-funk of ‘Stay With Me’ to orchestrated ballads like the emotive musical thanksgiving of ‘Mother’.

ELECTRICITYCLUB.CO.UK was extremely pleased to be able to speak to Howard Jones during a break from rehearsals for the forthcoming ‘Transform’ tour.

Is there a spiritual theme or concept to ‘Transform’?

I’m coming from the point of view that if you want to make a change to society or the world, if you don’t agree with what’s going on, the first place you have to start is with ourselves, to transform ourselves rather than just go moaning about what’s going on *laughs*

The first place to start is home and then let it ripple out from there, so that’s one of the themes of the album, to change what I’ve got in my head and have a new take on the world, it’s up to me, that’s what I’m saying.

‘Transform’ is your most synthy album for a number of years, so how did your approach compare with say ‘Engage’ or ‘Ordinary Heroes’?

‘Ordinary Heroes’ was very acoustic album using piano and a string quartet really, but ‘Engage’ was like a multi-media extravaganza with video and stuff that was conceived as a live show rather than just a studio album.

So ‘Transform’ is almost like going back to my roots in a way, back to the synths and back to the electronics, back to those song structures… I just felt like doing that! *laughs*

Did the root of it start with when you were invited to contribute music to the ‘Eddie The Eagle’ film?

Yes, but there were a couple of things… one was I working on the remastering of the first two albums so we were collecting rare mixes, demos and video. I was watching and hearing a lot of things from the early days and thinking “oh wow”, I really enjoyed those days of working as a one-man band, having loads of synths and drum machines around me.

And then Gary Barlow asked me to write a couple of songs for ‘Eddie The Eagle’ which of course is set in the 80s. He wanted to have an 80s sound but with contemporary songs. Those came quite quickly to me, I recorded them really fast and thought this could be the basis of the new album. So it was those two things I think that really pushed me towards the sound of the new album.

‘Eagle Will Fly’ is an interesting one in that it has a very driving American feel despite the synths?

It’s a shuffle and there are not many shuffles in synth, although ‘Everybody Wants To Rule The World’ by TEARS FOR FEARS is one… I read the script of the film and just based it on my feelings towards the ‘Eddie The Eagle’ story. I do what I do, I don’t really think how about how it’s going to fit in the world, I try and use the technology of the day to do my best work.

Photo by Simon Fowler

What was the idea behind ‘Hero In Your Eyes’ which was also from the ‘Eddie The Eagle’ sessions?

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 on 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, parents in particular.

The song stands on its own, it doesn’t have to be part of that story. It’s how you can feel about anybody close to you or that you really care about.

The video to ‘Hero In Your Eyes’ features your trusty Jupiter 8, Pro-One and Moog Prodigy, how much hardware did you use on ‘Transform’ and how did you balance in out with VSTs?

I use both, I get the old synths out when I really want to get a particular sound and I’ll record it live into a Mac. But I use software synths as well, I use the best things that are available to make a great sounds. I worked with BT on a few tracks and his studio is absolutely crammed with vintage analogue synths, so he used those a lot on the tracks we did together. When I went to the studio with him, I played a lot of those.

What do you think of these new old synths like the Pro-2, Prophet 12 and various Moogs?

I’ve got a Prophet 12 and I think it’s great, it’s a wonderful synth. But definitely on my shopping list is the Moog One which I really want! It’s a must have for any synth nut, I still have keyboard lust! *laughs*

Among the tracks you worked with BT on are ‘The One To Love You’ and ‘At The Speed Of Love’, how did this come about and what did he bring to the party?

My long term collaborator Robbie Bronnimann turned me onto BT’s music and I became a huge fan of his work. I really thought this guy was really taking electronic music forward with programming and coding, I just loved what he did.

I went to see him in Miami where he was mixing orchestras and electronics, he unexpectedly gave me a namecheck from the stage which was a bit embarrassing! I met him afterwards and he invited me to his studio to hang out and chat. We started messing around with some modulars which was amazing fun and I suggested that we should make a record together because we had come from the same sort of place.

Because I was such a big fan of his work and he been listening to my early work since he was 13, it was a perfect combination really. I think that’s why those tracks have turned out really well. I hardly ever collaborate with people, it’s just with Robbie who I’ve worked with for nearly 20 years. So really, it’s quite a big deal for me to collaborate with people.

Did you two talk about your pop group diversions, him with NSYNC and you with SUGABABES?

No, we didn’t actually! He’s worked with all kinds of different people, unlike me! *laughs*

‘Beating Mr Neg’ has an important message. Now you have been known over the decades as Mr Positive, what’s your secret?

I think everyone has huge capacity for being negative and cynical about the world and themselves, I think that’s what makes us human. We have this great potential for positivity but also this nagging negative urge that often stops us from doing brilliant things.

But it’s a very serious subject, so I wanted to have some fun with that idea, and give Mr Neg a character… of course at the end, you temporarily defeat Mr Neg and are positive about the future.I’m looking forward to playing it live because Mr Neg is represented on the video screen, all nasty and cynical and whispering things in your ear that you don’t want to hear. I’ve had a lot of reaction to the lyrics of that one which is great, people have got where I was coming from.

So who is the ‘Tin Man’?

The ‘Tin Man’ is a AI entity who wishes he could be human, feel pain and joy, and dance the bossa nova. It’s quite a sad song really because he wants to hear the nightingale singing and ponder the universe, but he just can’t because he’s not human. It’s me exploring the idea of Artificial Intelligence and how far that needs to go, will it ever be like the way we think?

What format will the forthcoming ‘Transform’ shows take?

It’s the biggest production I’ve done maybe ever for a theatre tour in the UK. Because the album is very electronic, it’s going to be three keyboard players including me and loads of synths. It’s unashamedly electronic, the drums and bass are coming out of Ableton and we play our stuff on the top, it’s the only way electronic music can sound right. Occasionally I will go to the piano and will play a song acoustically with my guitarist Robin Boult.

It’s very exciting. There will be eight of the songs from the new album, interspersed with heritage stuff. We’ve worked on the older tracks to facelift and update the sounds, get the timing better and have a bit more of the flavour of the new album. So when we play songs back-to-back, it will feel like a continuum rather than jumping back and forth in time. I’m not into nostalgia, I’m always looking forward and how you can create something new, giving older stuff new life.

When you first got your break, you supported CHINA CRISIS in 1983 and you’ve invited them to open for you on the ‘Transform’ tour, it’s great that you’re still friends after the extremely positive reception you got back then…

It’s kind of payback isn’t it really, that tour was so important for me. It was my first national tour and it kind of broke me.

I’d got to the right audience and they went out and bought the ‘New Song’ single, it just was brilliant. I’ve always been friends with CHINA CRISIS ever since then, so it’s really lovely to have them on the tour with me.

The best thing about it is that you’re both still around and making good music… so how does it feel to be celebrating the 35th anniversary of your debut album ‘Human’s Lib’?

It’s a good question, I mean I’m as passionate about the work as I’ve ever been and I’m surprised at that! But it is an absolute fact, I am obsessed with making the best music I possibly can for the fans and I love putting on a show.

It’s what I do and I’m sort fortunate that I’ve found out what it is that I can contribute to our world. It makes me very happy whilst driving me completely nuts as well.

Trying to get things to sound the way I want them to sound, it seems like forever to do it. But it’s really worth it when you get out there and people hear the music and they enjoy it. That’s the pleasure of doing it.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to HOWARD JONES

With thanks to Asher Alexander at Republic Media

‘Transform’ is released on 10th May 2019 by Dtox Records as a deluxe 2CD with media book, standard CD, vinyl LP and download, pre-order from https://www.musicglue.com/howard-jones/

Howard Jones 2019 35th Anniversary ‘Transform’ tour with special guests CHINA CRISIS includes:

Birmingham Symphony Hall (23rd May), Southend Cliffs Pavilion (24th May), London Palladium (25th May), Cardiff St David’s Hall (26th May), Leicester De Montfort Hall (29th May), Manchester Bridgewater Hall (30th May), Edinburgh Queens Hall (31st May), Gateshead Sage (1st June)

http://www.howardjones.com/

https://www.facebook.com/howardjones

https://twitter.com/howardjones

https://www.instagram.com/thehoward_jones/

Text and Interview by Chi Ming Lai
6th May 2019

Lost Albums: FIAT LUX Hired History + Ark Of Embers

17 April 2019 /

FIAT LUX only officially released thirteen songs in their original recorded career and none were ever released in CD format, save two of their early tracks for the 1989 ‘Cocteau Signature Tunes’ compilation issued in North America.

But after many years, that has now been put to rights with the Cherry Red collection ‘Hired History Plus’ which brings together the criminally underrated trio’s entire recorded output for Polydor Records and their unreleased debut album ‘Ark Of Embers’ which had been slated for public consumption in 1985.

FIAT LUX were one of the most promising of the new synthesizer based acts that emerged following the success of DEPECHE MODE and SOFT CELL. Hailing from Wakefield, founder members Steve Wright and David Crickmore were later joined by Ian Nelson, brother of Bill who had independently produced FIAT LUX’s early works for his Cocteau Records.

Signing to Polydor Records, in 1984 the label issued a six track EP ‘Hired History’ containing their three singles to date plus their corresponding B-sides. Produced by Hugh Jones, who had worked with SIMPLE MINDS, THE TEARDROP EXPLODES and ECHO & THE BUNNYMEN, ’Hired History’ was intended as a stop-gap before FIAT LUX’s debut album was completed, but it turned out to be the only thing close to a long form release by the band until 2019. But thirty five years after the event, the tracks which comprised ‘Hired History’ still stand up.

Beginning with the singles, ‘Secrets’ was a beautifully haunting ballad was bolstered by what appeared to be a violin solo but was actually a Yamaha CS80 played by Mike Timoney. Initially released earlier, ‘Photography’ was less immediate, but the vocal interplay between Wright’s croon and Crickmore’s repeat staccato harmony was a dreamboat delight while the climax was aided by a bursting lift from Nelson’s sax.

The magnificent ‘Blue Emotion’ was an observation on the disturbing militarism that had risen in the wake of the Falklands war and the embracement of Thatcherism. Shaped by fabulous sweeping ‘2001: A Space Odyssey’ derived MemoryMoog theme from Ian Nelson along with a wonderful Vox Matrimonium by Wright and Crickmore, the political sentiment however limited radio play and the song failed to be a Top40 hit.

The B-sides reflected FIAT LUX’s more theatrical side; ‘Sleepless Nightmare’ in particular sounded like Bertolt Brecht gone electro. Meanwhile the funky ‘Aqua Vitae’ sounded like something from GARY NUMAN’s ‘Warriors’ album.

Of course, ‘Hired History’ only had six tracks so its release has been bolstered by a selection of bonus tracks, most notably ‘Feels Like Winter Again’ and ‘This Illness’ which were produced by Bill Nelson.

‘Feels Like Winter Again’ was and still is a musical triumph, driven by a resonant drum machine, with a chilling mix of synth and treated guitar over an electronic pulse, Wright’s sombre and ambiguous tale of broken love affairs made a resigned emotive statement. ‘This Illness’ was more moody and featured Bill Nelson’s distinctive E-bowed infinite guitar alongside some sparkling synth work.

Also included on ‘Hired History Plus’ is the disappointing ‘House Of Thorns’ originally released in 1984 which saw FIAT LUX losing momentum. But with still no hit singles, the debut album that was being worked on was shelved by Polydor. Disillusioned, Crickmore departed FIAT LUX before Wright and Nelson quietly disbanded altogether.

Ian Nelson sadly passed away in 2006 but a few years later with the accessibility of the internet, a number of music bloggers were offering a FIAT LUX compilation entitled ‘Fact Ut Vivas’ for free download… this turned out to largely be what had been intended to be the trio’s debut album for Polydor.

Now titled ‘Ark Of Embers’ thanks to the remaining duo of Wright and Crickmore uncovering paperwork confirming this had been the long player’s intended title, the fully restored and properly mastered collection is impressive, even without including the three Polydor singles ‘Photography’, ‘Secrets’ and ‘Blue Emotion’.

Quite what Polydor was thinking in not even taking a chance with the release of a FIAT LUX album when Colin Verncombe’s BLACK were making waves with the original independently released version of ‘Wonderful Life’ is something of a mystery.

Interestingly, the opening song on ‘Ark Of Embers’, ‘The Moment’ possesses the atmospheric air of BLACK. It is then followed by the brooding uptempo North European melancholy of ‘Breaking The Boundary’, a song easily as good as BLACK’s ‘Everything’s Coming Up Roses’. Always keen to combine electronics with real instruments such as sax, marimbas, drums, bass and guitars, ‘Embers’ is something of a distant cousin of PINK FLOYD’s ‘Wish You Were Here’.

But ‘Ark Of Embers’ isn’t just about moods, as the groovy Roxy flavoured artrock of ‘No More Proud’ showed, while ‘Splurge’ offered a bizarre textural mix of chattering tablas over screeching guitar and a gothic disco backbone. Led by dreamy sax, ‘In The Heat Of The Night’ is a marvellous slice of emotive pop reminiscent of CHINA CRISIS, with additional clarinet providing atmospheric resonance to the sonic balance.

Closing with the brilliantly filmic synthpop of ‘Solitary Lovers’, ‘Ark Of Embers’ would have been an impressive debut long player demonstrating FIAT LUX’s instrumental versatility and diversity. Although also reprising the imperial Polydor singles trilogy in its tracklist, this is a new album to most, and damn fine it is too.

Among the other extras on the ‘Hired History Plus’ package are various 12 inch extended mixes, the original Bill Nelson version of ‘Photography’ which had been rejected by Polydor and a cover of the traditional South West English folk standard ‘Sally Free & Easy’ written by Cyril Tawney.

Arranged with a cacophony of voice samples like Philip Glass, it was a track which had only previously been available in Germany that Wright usually sang in the studio for Jones to set up levels and EQ.

‘Hired History Plus’ with its accompanying bonus of ‘Ark Of Embers’ is a belated but very welcome vindication of the talents of Steve Wright, David P Crickmore and Ian Nelson. A definitive collection with expansive booklet notes featuring commentary by Wright and Crickmore, the package represents exactly what was and is still brilliant about FIAT LUX.

Dedicated to the memory of Ian Nelson 1956-2006

‘Hired History Plus’ is released by Cherry Red Records on 19th April 2019 as a double CD featuring ‘Ark Of Embers’, available from https://www.cherryred.co.uk/product/fiat-lux-hired-history-plus-2cd-expanded-edition/

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

https://www.facebook.com/Fiatluxofficial

https://twitter.com/fiatluxofficial

https://open.spotify.com/album/2wZhBOPKx854RkKIvsZ5ta

Text by Chi Ming Lai
17th April 2019

FIAT LUX Saved Symmetry

27 February 2019 /

37 years is a long time to wait for a debut album, but with Wakefield’s FIAT LUX, it has been worth it.

Singer Steve Wright and multi-instrumentalist David P Crickmore released their magnificent first single ‘Feels Like Winter Again’ in 1982. Produced by Bill Nelson and released on his Cocteau Records, his brother Ian joined FIAT LUX and the trio became one of the most promising of the post-Synth Britannia wave of electronic pop acts.

Despite brilliant singles like ‘Photography’, ‘Secrets’ and ‘Blue Emotion’ with their distinctive vocal counterpoints and melancholic melodies, FIAT LUX were unable to secure a significant UK chart hit and despite having recorded a full-length album, Polydor Records dropped FIAT LUX and the debut long player shelved.

Ian Nelson sadly passed away in 2006, but with acts such as OMD, BLANCMANGE and ULTRAVOX returning and recording new material, there was renewed interest some of the lesser known acts of the same era like CHINA CRISIS, B-MOVIE and FIAT LUX.

In total control of their destiny, Wright and Crickmore relaunched FIAT LUX in 2017 with a re-recording of ‘Secrets’, before setting about producing an album of all-new material, now unveiled with the wonderfully alliterate title of ‘Saved Symmetry’.

Recorded at Crickmore’s Splid Studios and produced by the multi-instrumentalist with vintage synths like a Minimoog and Roland Jupiter 8, along with modern hardware like a Novation MiniNova and Roland Jupiter 50 to hand, the pair have been joined by Will Howard on sax and clarinet plus live drummer Andy Peacock.

For ‘Saved Symmetry’, Crickmore even tracked down a relative of an old accomplice to help make the overall FIAT LUX sound as authentic as possible in the 21st Century; “The bass guitar is the same model Yamaha BB1000S that I used on the Polydor sessions” he said, “but I had to track another early 80s edition down as my original bass went astray in the mid-80s.”

Beginning perhaps unexpectedly with acoustic guitar and some scratchy background interference, the desolate filmic drama of ‘Tuesday’ sees Wright’s vocal holding off until two and a half minutes in. Countered by a haunting synth lead, the combination provides tension and anticipation of what is ahead.

The steadfast ‘Hold Me While You Can’ builds from piano and woodwinds before taking an enjoyably odd turn when a Numan-esque synth riff that wouldn’t have sounded out of place on ‘We Have A Technical’ kicks in alongside a burst of sax.

Then with hints of the song side of ‘Low’ era Bowie, ‘Everyday In Heaven’ offers a fine avant pop tune with rousing up-for-life lyrics about embracing second chances and encouragement to “go where your garden grows”. Utilising offbeats and marimbas, ‘Grey Unpainted Rooms’ takes things in amore solemn direction… well, real life isn’t always cheery is it?

Expanding the mood, ‘We Can Change The World’ provides a call to action in these turbulent times. With a great bit of sax and an uptempo setting dressed with bubbling synths and rousing vocals, it recalls ‘Everything Is Coming Up Roses’ by BLACK, the vehicle of the late Colin Verncombe who ultimately proved that despite the short-sightedness of Polydor Records back in the day, the FIAT LUX template was indeed a viable commodity.

The semi-acoustic ballad ‘Wasted (On Baby Tears)’ acts as a pleasant musical interlude before another burst of sax and marimba for ‘Long Lost Love’, a lively slice of classic orchestrated pop with a great chorus and a dash of CHINA CRISIS.

‘It’s You’, the magnificent single which relaunched FIAT LUX as a modern creative force in 2018 continues to delight by its very existence, the classic emotive mix of dual vocals, synths and sax brimming with positivity and in the reflective couplet “I’m living in a room at a stranger’s house, I never thought I’d be here again”, touchingly conveying the joys of finding love again in midlife.

Heading towards the home straight, the elegiac ‘Calling On Angels’ is based around piano and a striking synthetic orchestra arrangement with some more superb sax work. The ‘Saved Symmetry’ title track with its drum machine pulse and stark backing is reminiscent of THE BLUE NILE, an instrumental with gentle ivories and bass to allow the album’s organic flow to proceed to its conclusion.

2019 is turning out to be a great year for FIAT LUX fans as not only do they finally have an album, but those lovely people at Cherry Red Records will be issuing ‘Hired History Plus’, an expanded CD of their 1984 six song compilation EP as well.

Very much a grower with a mix of emotions in many colours, ‘Saved Symmetry’ is a worthy belated long playing debut with depth and musicality. FIAT LUX have always deserved recognition and now might well be their time in the sun… so let there be light.

‘Saved Symmetry’ is released by Splid Records through Proper Music Distribution on 8th March 2019 in CD and digital formats, pre-order from https://www.propermusic.com/splidcd21-saved-symmetry.html

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

https://www.facebook.com/Fiatluxofficial

https://twitter.com/fiatluxofficial

http://www.splidrecords.co.uk

Text by Chi Ming Lai
27th February 2019

25 21ST CENTURY SYNTH COVERS

1 January 2018 /


“The medium of reinterpretation” is still very much present in the 21st Century.

There have been albums of cover versions from the likes of SIMPLE MINDS, ERASURE, MIDGE URE and Claudia Brücken celebrating their influences, as well as numerous various artists collections paying tribute to particular acts.

However, a newish phenomenon of covering an entire album has appeared in more recent years, something which MARSHEAUX, BECKY BECKY and CIRCUIT 3 have attempted on works by DEPECHE MODE, THE KNIFE and YAZOO respectively.

On the other side of the coin in recognition of the cultural impact of the classic synth era, the Anti-Christ Superstar Marilyn Manson covered SOFT CELL’s cover of ‘Tainted Love’ but added more shouting, while David Grey took their own ‘Say Hello Wave Goodbye’ and turned it into a lengthy Dylan-esque ballad.

There has also been a trend for girl groups to cover songs from the period with GIRLS ALOUD, THE SATURDAYS and RED BLOODED WOMEN being among those introducing these numbers to a new younger audience.

So as a follow-up to the 25 Classic Synth Covers listing, here is ELECTRICITYCLUB.CO.UK’s selection taken from reinterpretations recorded from 2000 to the present day, restricted to one song per artist moniker and presented in chronological order.

SCHNEIDER TM va KPTMICHIGAN The Light 3000 (2000)

Morrissey was once quoted as saying there was “nothing more repellent than the synthesizer”, but if THE SMITHS had gone electro, would they have sounded like this and Stephen Patrick thrown himself in front of that ten ton truck? Germany’s SCHNEIDER TM aka Dirk Dresselhaus reconstructed ‘There Is A Light That Never Goes Out’ to a series of minimal blips, blops and robotics to configure ‘The Light 3000’ with British producer KPTMICHIGAN.

Available on the album ‘Binokular’ via https://mirrorworldmusic.bandcamp.com/

http://www.cityslang.com/schneider-tm/biography

GOLDFRAPP Yes Sir (2003)

A breathy Euro disco classic made famous by sultry Spanish vocal duo BACCARA, Alison Goldfrapp and Will Gregory’s take on this cheesy but enjoyable disco standard came over like The Cheeky Girls at The Nuremburg rally! Now that’s a horrifying vision! All traces of ‘Yes Sir I Can Boogie’ apart from the original lyrics were rendered missing in action as the stern Ms Goldfrapp played the role of the thigh booted dominatrix on this highly original cover.

Available on the single ‘Twist’ via Mute Records

http://goldfrapp.com/

INFANTJOY featuring SARAH NIXEY Ghosts (2005)

When BLACK BOX RECORDER went on hiatus, Sarah Nixey recorded a beautifully spacey cover of JAPAN’s Ghosts with INFANTJOY whose James Banbury became her main collaborator on her 2007 debut solo album ‘Sing Memory’. The duo’s other member was ZTT conceptualist Paul Morley. MIDI-ed up and into the groove, Nixey later also recorded THE HUMAN LEAGUE’s ‘The Black Hit Of Space’.

Available on the album ‘With’ via serviceAV

http://infantjoy.com

DIE KRUPPS featuring CLIENT Der Amboss (2005)

Of this mighty industrialised cover, Ralf Dörper said: “When I first heard ‘The Anvil’ (‘Der Amboss’) by VISAGE, I thought: “what a perfect song for DIE KRUPPS” – it just needed more sweat, more steel. And it was not before 2005 when DIE KRUPPS were asked to play a few 25-year anniversary shows that I remembered ‘Der Amboss’… and as I was a big CLIENT fan at that time, I thought it would be a good opportunity to ask Fräulein B for assistance in the vocal department”.

Available on the album ‘Too Much History Vol1’ via Metropolis Records

http://www.diekrupps.de/

FROST Messages (2007)

Comprising of Aggie Peterson and Per Martinsen, FROST have described their music as “upbeat space-pop”. Much of their own material like ‘Klong’, ‘Alphabet’ and ‘Sleepwalker’ exuded a perfect soundtrack for those long Nordic nights. Meanwhile their ultra-cool cover of OMD’s ‘Messages’ embraced that wintery atmosphere, while providing a pulsing backbone of icy synths to accompany Peterson’s alluringly nonchalant vocal.

Available on the album ‘Love! Revolution!’ via Frost World Recordings

https://www.facebook.com/frostnorway/

ONETWO Have A Cigar (2007)

In this “Pink Floyd Goes To Hollywood” styled rework, Claudia Brücken revisited her ZTT roots with this powerful and danceable version of Roger Waters’ commentary on music business hypocrisy. ‘Have A Cigar’ showed a turn of feistiness and aggression not normally associated with the usually more serene timbres of Claudia Brücken and Paul Humphreys’ ONETWO project. But by welcoming pleasure into the dome, they did a fine cover version.

Available on the album ‘Instead’ via https://theremusic.bandcamp.com/

http://www.theremusic.com/onetwo/onetwo

BLACK NAIL CABARET Umbrella (2008)

Budapest’s BLACK NAIL CABARET began life as an all-female duo of Emese Illes-Arvai on vocals and Sophie Tarr on keyboards, with their first online offering being a darkwave cover of RIHANNA’s ‘Umbrella’. Already very synthy in the Barbadian starlet’s own version, it showcased their brooding form of electro which subsequently impressed enough to earn support slots with COVENANT, DE/VISION and CAMOUFLAGE while producing three albums of self-penned material so far.

Available on the album ‘The Covers’ via https://blacknailcabaret.bandcamp.com/

http://www.blacknailcabaret.com

CHINA CRISIS Starry Eyed (2008)

Liverpudlian easy listening crooner Michael Holliday was the second person to have a UK No1 written by Burt Bacharach and Hal David, the first being Perry Como with ‘Magic Moments’. His second UK No1 penned by Earl Shuman and Mort Garson was a romantic guilty pleasure. CHINA CRISIS pledged their Scouse Honour with this jaunty synth / drum machine driven rendition of ‘Starry Eyed’ layered with reverbed synthbass warbles and harmonious vocals.

Available on the album ‘Liverpool – The Number Ones Album’ (V/A) via EMI Records

www.facebook.com/pages/China-Crisis/295592467251068

LITTLE BOOTS Love Kills (2009)

LITTLE BOOTS gave a dynamically poptastic rendition of Giorgio Moroder and Freddie Mercury’s only collaboration from 1984, retaining its poignant melancholic quality while adding a vibrant and danceable electronic slant. The recreation of Richie Zito’s guitar solo on synths was wondrous as was the looser swirly groove. While Blackpool-born Victoria Hesketh didn’t have the voice of Mercury, her wispy innocence added its own touching qualities to ‘Love Kills’.

Available on the EP ‘Illuminations’ via Elektra Records

www.littlebootsmusic.co.uk

PET SHOP BOYS Viva La Vida (2009)

Yuck, it’s Chris Martin and Co but didn’t Neil Tennant and Chris Lowe do well? Merging possibly COLDPLAY’s best song with the synth riff from their own Latino disco romp ‘Domino Dancing’, ‘Viva La Vida’ was turned into a stomping but still anthemic number which perhaps had more touches of affection than PET SHOP BOYS‘ marvellous but allegedly two fingers Hi-NRG rendition of U2’s ‘Where The Streets Have No Name’. So altogether now: “Woah-oh, ooh-ooah!”

Available on the album ‘Yes: Further Listening 2008-2010’ via EMI Records

http://petshopboys.co.uk

DURAN DURAN Boys Keep Swinging (2010)

No strangers to raiding the Bowie songbook having previously tackled ‘Fame’ in 1981, DURAN DURAN however blotted their copy book with their 1995 covers LP ‘Thank You’. They refound their stride with the return-to-form album ‘All You Need Is Now’, but just before that, this superb reinterpretation of ‘Boys Keep Swinging’ reconnected them to their New Romantic roots with washes of Nick Rhodes’ swimmy Crumar string machine and John Taylor’s syncopated bass runs.

Available on the album ‘We Were So Turned On: A Tribute To David Bowie’ via Manimal Vinyl

http://www.duranduran.com

LADYTRON Little Black Angel (2010)

This frantically paced cover of controversial neofolk band DEATH IN JUNE was recorded for the LADYTRON ‘Best Of 00-10’ collection and purposely uncredited. The antithesis of the midtempo atmospherics of ‘Gravity The Seducer’, this cutting four-to-the-floor romp was the last of the quartet’s in-yer-face tracks in a wind down of the harder ‘Velocifero’ era. With the multi-ethnic combo subverting the meaning of ‘Little Black Angel’, it deliberately bore no resemblance to the original.

Available on the album ‘Best of 00-10’ via Nettwerk Records

http://www.ladytron.com

GAZELLE TWIN The Eternal (2011)

‘The Eternal’ from ‘Closer’, the final album by JOY DIVISION, was one of the most fragile, funereal collages of beauty ever committed to vinyl. But in 2011, the mysterious Brighton based songstress GAZELLE TWIN reworked this cult classic and made it even more haunting! Replacing the piano motif with eerily chilling synth and holding it together within an echoing sonic cathedral, she paid due respect to the song while adding her own understated operatic stylings.

Available on the EP ‘I Am Shell I Am Bone’ via Anti-Ghost Moon Ray Records

http://www.gazelletwin.com

MIRRORS Something On Your Mind (2011)

On their only album ‘Lights & Offerings’, MIRRORS revealed an interesting musical diversion with this haunting take of a rootsy country number originally recorded by Karen Dalton. Written by the late Dino Valenti of psychedelic rockers QUICKSILVER MESSENGER SERVICE, ‘Something On Your Mind’ was a touching ballad with its tortured yearning suiting the quartet’s pop noir aspirations. Ally Young said: “It was very nice for us to be able to apply our aesthetic to someone else’s song.”

Available on the album ‘Lights & Offerings’ via Skint Records

http://mirrorsofficial.bandcamp.com/

OMD VCR (2011)

Indie stoners THE XX had a minimalist approach to their sound which Andy McCluskey said was “really quite impressive”. This bareness made their material quite well suited for reworking in the style of classic OMD. ‘VCR’ had Paul Humphreys taking charge of the synths while McCluskey dusted off his bass guitar and concentrated on vocals. McCluskey added: “People go ‘how did OMD influence THE XX?’… but have you listened to ‘4-Neu’? Have you listened to some of the really simple, stripped down B-sides?”

Available on the EP ‘History Of Modern (Part I)’ via Blue Noise

http://www.omd.uk.com

I SPEAK MACHINE My Sex (2013)

As I SPEAK MACHINE, Tara Busch has been known for her haunting and occasionally downright bizarre live covers of songs as diverse as ‘Cars’, ‘Our House’, ‘The Sound Of Silence’ and ‘Ticket To Ride’. For a JOHN FOXX tribute EP which also featured GAZELLE TWIN, she turned ‘My Sex’, the closing number from the debut ULTRAVOX! long player, into a cacophony of wailing soprano and dystopian synths that was more than suitable for a horror flick.

Available on the EP ‘Exponentialism’ (V/A) via Metamatic Records

http://www.ispeakmachine.com

NOBLESSE OBLIGE Hotel California (2013)

French theatrical performer Valerie Renay and German producer Sebastian Lee Philipp are NOBLESSE OBLIGE. Together, they specialise in a brand of abstract Weimer cabaret tinged with a dose of electro Chanson. Their lengthy funereal deadpan cover of THE EAGLES’ ‘Hotel California’ highlighted the chilling subtext of the lyrics to its macabre conclusion! The synthesizer substitution of the original’s iconic twin guitar solo could be seen as total genius or sacrilege!

Available on the album ‘Affair Of The Heart’ via Repo Records

http://www.noblesseoblige.co.uk/

I AM SNOW ANGEL I’m On Fire (2014)

I AM SNOW ANGEL is the project of Brooklyn based producer Julie Kathryn; her debut album ‘Crocodile’ was a lush sounding affair and could easily be mistaken as a product of Scandinavia were it not for her distinctly Trans-Atlantic drawl. Already full of surprises, to close the long player, out popped a countrified drum ‘n’ bass take of BRUCE SPRINGSTEEN’s ‘I’m On Fire’! Quite what The Boss would have made of it, no-one is sure but it was quietly subversive…

Available on the album ‘Crocodile’ via I Am Snow Angel

http://iamsnowangel.com/

MACHINISTA Heroes (2014)

Reinterpreting any Bowie number is fraught with the possibility of negative feedback and MACHINISTA’s take on ‘Heroes’ set tongues wagging. Recorded as the duo’s calling card when experienced Swedish musicians John Lindqwister and Richard Flow first came together, electronic pulses combined with assorted synthetic textures which when amalgamated with Lindqwister’s spirited vocal, produced a respectful and yes, good version of an iconic song.

Available on the album ‘Xenoglossy’ via Analogue Trash

http://www.machinistamusic.com

NIGHT CLUB Need You Tonight (2014)

Comprising of frisky vocalist Emily Kavanaugh and moody producer Mark Brooks, NIGHT CLUB simply cut to the chase with their enjoyable electronic cover of INXS’ ‘Need You Tonight’. Here, the familiar guitar riff was amusingly transposed into a series of synth stabs before mutating into a mutant Morse code. It wasn’t rock ‘n’ roll but we liked it! Purists were horrified, but history has proved the best cover versions always do a spot of genre and instrumentation hopping.

Available on the EP ‘Black Leather Heart’ via http://nightclubband.com/album/black-leather-heart

http://www.nightclubband.com

MARSHEAUX Monument (2015)

The MARSHEAUX reworking of DEPECHE MODE’s second album ‘A Broken Frame’ shed new light on Martin Gore’s first long form adventure as songwriter and affirmed that numbers such as ‘My Secret Garden’ and ‘The Sun & The Rainfall’ were just great songs. But ‘Monument’ was an example of a cover outstripping the original and given additional political resonance with the economic situation close to home that the Greek synth maidens found themselves living in at the time of its recording.

Available on the album ‘A Broken Frame’ via Undo Records

http://www.marsheaux.com/

METROLAND Close To Me (2015)

Needing to be heard to be believed, this rather inventive and charming cover of THE CURE’s ‘Close To Me’ by Belgium’s favourite passengers METROLAND utilised a selection of male and female computer voice generators to provide the lead vocal, in a move likely to upset the majority of real music purists. Meanwhile, the hidden melodies shone much more brightly than in the goth-laden original, thanks to its wonderful and clever electronic arrangement.

Available on the album ‘A Strange Play – An Alfa Matrix Tribute To The Cure’ (V/A) via https://alfamatrix.bandcamp.com/album/a-strange-play-an-alfa-matrix-tribute-to-the-cure

http://www.metrolandmusic.com/

JOHAN BAECKSTRÖM Jerusalem (2016)

One of DAILY PLANET’s main inspirations was cult UK synth trio WHITE DOOR, who released just one album ‘Windows’ in 1983. So when their chief synthesist Johan Baeckström was needing tracks to include on his ‘Like Before’ EP, the almost choir boy overtures of ‘Jerusalem’ was a natural choice for a cover version. Of course, this was not the first time Baeckström had mined the WHITE DOOR back catalogue as the more halcyon ‘School Days’ adorned the flip of his debut solo single ‘Come With Me’.

Available on the EP ‘Like Before EP’ via Progress Productions

https://www.facebook.com/bstrommusic/

THE FRIXION Under A Cherry Moon (2017)

Forming in 2016, seasoned vocalist Gene Serene and producer Lloyd Price’s combined sound delightfully borrowed from both classic synthpop and Weimar Cabaret on THE FRIXION’s self-titled EP debut. From it, a tribute to The Purple One came with this touching take of his ‘Under The Cherry Moon’, highlighting PRINCE’s often hidden spiritual connection to European pop forms and recalling ‘The Rhythm Divine’, YELLO’s epic collaboration with Shirley Bassey.

Available on the EP ‘The Frixion’ via https://thefrixion.bandcamp.com/

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

KALEIDA 99 Luftballons (2017)

Moody electronic duo KALEIDA first came to wider attention opening for RÓISÍN MURPHY in 2015. Covers have always been part of Christina Wood and Cicely Goulder’s repertoire with ‘A Forest’ and ‘Take Me To The River’ being among them. KALEIDA’s sparse rendition of NENA’s ‘99 Luftballons’ earned kudos for being very different and was included in the soundtrack of the Cold War spy drama ‘Atomic Blonde’, hauntingly highlighting the currently relevant nuclear apocalypse warning in the lyric.

Available on the album ‘Tear The Roots’ via https://kaleida.bandcamp.com

http://kaleidamusic.com

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
1st January 2018

This Occupation: The Legacy of CHINA CRISIS

4 August 2017 /

Merseyside duo CHINA CRISIS are probably the most under rated band of their generation.

Gary Daly and Eddie Lundon formed the band in 1979 as they were leaving school. While Daly played bass and Lundon the guitar, their interest in Brian Eno, particularly his ‘Before & After Science’ album and collaborations with David Bowie and Jon Hassell, led to their first synth purchase, a Yamaha CS10 before later adding an Octave Cat and Roland SH2 to their armoury.

Continuing their fascination with Eno, the pair became influenced by TALKING HEADS which resulted in the first magnificent single ‘African & White’. Beginning with a stutter from a Boss Dr Rhythm, tribal rhythms played by Dave Reilly formed the backbone as an infectious bassline and haunting synth complimented an insightful political observation.

Released in 1981 by the local independent Inevitable Records, who had issued early recordings by WAH! and DEAD OR ALIVE, ‘African & White’ gained CHINA CRISIS critical acclaim and a deal with Virgin Records; the label’s advance underwrote the acquisition of further equipment including a Korg PolySix.

Caroline International reissue the first three Virgin era albums ‘Difficult Shapes & Passive Rhythms, Some People Think It’s Fun To Entertain’, ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ and ‘Flaunt The Imperfection’ as expanded deluxe CD editions including band’s superb B-sides and previously unreleased BBC Radio sessions.

This early period of CHINA CRISIS saw them compared with their label mates JAPAN and OMD, but while the synthesizer was an important aspect to their sound, they also utilised a variety of traditional instrumentation with lots of melody and a subtle rhythmic backbone.

While CHINA CRISIS are best remembered for their soulful art pop, it’s quite strange to think now that when they first emerged, they were quite uptempo and percussive with post-punk influences such as MAGAZINE and SIMPLE MINDS, who they were to open for on the ‘New Gold Dream’ tour.

And with the success of SOFT CELL and DEPECHE MODE, they were also flirting with pure mechanical synthpop, as the heavily drum machine driven John Peel session recording of ‘This Occupation’ from April 1982 included in the fabulous extras for this batch of reissues shows. Their second single ‘Scream Down At Me’ saw a band still trying find to their feet and it displayed a frantic funk tension that was never to be repeated by the band.

As a result, it was not included on the first CHINA CRISIS album ‘Difficult Shapes & Passive Rhythms, Some People Think It’s Fun To Entertain’ but now appears on its 2CD reissue. So it was the pretty ‘No More Blue Horizons’ with its memorable trumpet theme that launched CHINA CRISIS’ debut long player in Autumn 1982.

Split into Difficult and Entertainment sides, the latter comprised of sweetened up demos that the duo had recorded in an eight track studio with Gil Norton, later to produce THE PIXIES! ‘Red Sails’ and ‘Temptation’s Big Blue Eyes’ were highlights that made the most of Daly’s afflicted but passionate vocal style, while the closing ‘Jean Walks In Fresh Fields’ showcased CHINA CRISIS’ prowess in ambient instrumental forms.

Meanwhile, the Difficult first side was produced by Steve Levine and Peter Walsh; it saw the band experimenting with Linn Drum Computers, Simmons Drums and bass sequencers as well as fretless bass played by Andy Pask of LANDSCAPE. The latter was to prove crucial to the haunting ‘Christian’, a song about the fate of soldiers in the trenches during World War One.

‘Christian’ was as unlikely a hit single as ‘Ghosts’ by JAPAN was, but in a far more open-minded and diverse period in pop music than today, acts with a less obvious rock ‘n’ roll bent were generally in with a chance; it reached No12 in the UK singles charts.

It was a promising debut, but ‘Difficult Shapes & Passive Rhythms, Some People Think It’s Fun To Entertain’ was a something of a mish-mash, with its eleven tracks involving no less than four different producers.

The second album ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ released in Autumn 1983 was to be more cohesive and produced under the auspices of Mike Howlett, fresh from working with OMD, A FLOCK OF SEAGULLS and BLANCMANGE.

Featuring Daly’s newly acquired Roland Jupiter 8 as well as bass guitar by Gazza Johnson and new sticksman Kevin Wilkinson, the long player was a maturer pop statement with a distinct English resonance, thanks to the addition of woodwinds from Snowy Levy.

The template was still synth friendly, as affirmed by the politically driven title track and the propulsive ‘Animals In Jungles’, but songs such as ‘Tragedy & Mystery’, ‘The Gates Of Door To Door’ and ‘When the Piper Calls’ exuded an almost folky feel despite the surrounding technology.

However, it was the album’s brilliant Emulator laced third single ‘Wishful Thinking’ that was to become CHINA CRISIS’ major breakthrough as their only UK Top10 hit in early 1984; the pair later joked that it was a “housewives’ favourite”. The success had been unexpected as the song featured Lundon on lead vocals while on the John Peel session recorded the year before, it appeared nothing more than a possible album track at the time.

Indeed, the stand-outs from that particular Peel session had been ‘A Golden Handshake For Every Daughter’ which ended up as a B-side and ‘Here Come A Raincloud’, which displayed more rhythmic tension than the disappointing album cut that eventually appeared.

With ‘Soul Awakening’, the atmospheric synth textures and ethereal piano made a perfect closer to ‘Working With Fire & Steel – Possible Pop Songs Volume 2’, but the tune had previously appeared on a Kid Jensen radio session in a quality instrumental arrangement.

From an earlier Jensen session, a sparkling wordless wonder called ‘Reflections’ makes its first formally sanctioned appearance, while two further instrumentals from the period come with this lavish 3CD edition of the album that both rank among some of CHINA CRISIS’ best work.

Daly and Lundon often recorded a variety of instrumental sketches to relax prior to formal writing sessions for albums and ‘Dockland’ was a sublime slice of nautical transience inspired by Liverpool’s once vibrant docks lying wasted in a period of high unemployment. It was captivating and emotive, as was more the more guitar focussed ‘Forever I & I’, recorded by Daly alone on a Portastudio in Lundon’s bedroom!

One song that was recorded with Mike Howlett but never made it onto ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ was ‘It’s Never Too Late’. Probably dropped from the album on account of it sounding like a more steadfast ‘Wishful Thinking’, it finally emerged, tucked away on the limited edition 12 inch of ‘Black Man Ray’. And this lost jewel is one of the bonuses on the expanded 2CD edition of ‘Flaunt The Imperfection’, the band’s biggest seller which even cracked the US Top200.

It would be fair to say that if ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ was CHINA CRISIS’ English album, then ‘Flaunt The Imperfection’ was their American one. The material was recorded with much more of a live soulful feel as on ‘Gift Of Freedom’ and ‘Bigger The Punch I’m Feeling’, while reggae inflections appeared on songs such as ‘Strength Of Character’ and the outtake ‘Animalistic’.

Produced by Walter Becker of STEELY DAN, the influence of his band on ‘Flaunt The Imperfection’ was more than obvious on ‘You Did Cut Me’. Shades of ABBA could also be heard on ‘Wall Of God’ with the bridge taking an obvious lift from the verse of ‘As Good As New’, a track from the Super Swedes’ disco flavoured album ‘Voulez-Vous’.

But it was the more classic CHINA CRISIS songs augmented by synths and drum machines like ‘Black Man Ray’ and ‘King In A Catholic Style’ that secured another two UK Top20 hits. Sadly though, they were to be Daly and Lundon’s last.

While improving as musicians and songwriters, they were perhaps becoming less artful and interesting, as indicated by album’s overall FM friendly vibe, use of noted session musicians like PINK FLOYD live guitarist Tim Renwick and the live recordings included as extras with the ‘Flaunt The Imperfection’ set. With the world now turning a bit SIMPLE MINDS in the wake of Live Aid, the next CHINA CRISIS albums were to be more conventional and Trans-Atlantic friendly.

The fourth album ‘What Price Paradise’ produced by Clive Langer and Alan Winstanley was a disappointment despite the wonderful singles ‘Arizona Sky’ and ‘Best Kept Secret’, while the band parted with Virgin Records after poor sales for the largely Walter Becker steered fifth album ‘Diary Of A Hollow Horse’ in 1989.

1994’s ‘Warped By Success’ and 2015’s ‘Autumn In The Neighbourhood’ may be new additions to the tradition, but it is the melodic inventiveness of the first three albums that mark CHINA CRISIS as an important band of the Synth Britannia era. CHINA CRISIS have been surprisingly influential in modern synthpop where elements of their sound have re-emerged in acts such as MIRRORS and VILLA NAH; just listen to ‘Visions Of You’ by the former and ‘Love Chance’ by the latter for some conclusive documentary evidence.

Today, CHINA CRISIS continue to play live, touring the world and it is testament to this highly enjoyable period in their history that they are still able to do this.

‘Difficult Shapes & Passive Rhythms, Some People Think It’s Fun To Entertain’, ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ and ‘Flaunt The Imperfection’ are released as expanded deluxe CD sets by Caroline International on 15th September 2017

CHINA CRISIS 2017 live dates include:

St Albans The Horn (5th October), Worcester Huntingdon Hall (6th October), Middlesbrough Longlands Club (7th October), Sheffield Greystones (14th October), Dundee Clarks (19th October), Stirling Tolbooth (20th October), Kincross Backstage (21st October), Glasgow Wood End Bowling Club (22nd October), Hilversum Podium De Vorstin (26th October), Zoetermeer De Boerderji (27th October), Bedford Esquires (9th November), St Helens Citadel Arts Centre (10th November), Bishops Cleeve Tithe Barn (12th November), Shrewsbury Henry Tudor House (13th November), Huddersfield The Keys (17th November), Nottingham Rescue Rooms (18th November), Bury The Met (24th November), Coventry Catch 22 Lounge (25th November), Wolverhampton Robin 2 (26th November), London Putney Half Moon (30th November), Hertford Corn Exchange (1st December), Hornchurch Fairkytes Arts Centre (2nd December), Liverpool The Cavern (14th-15th December), Glasgow Oran Mor (16th December)

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

https://twitter.com/ChinaCrisisUK

https://www.instagram.com/chinacrisismusic/

Text by Chi Ming Lai
4th August 2017

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