Tag: Claudia Brücken (Page 4 of 8)

A Beginner’s Guide To CLAUDIA BRÜCKEN

30 July 2016 / electricityclub

Photo by Hege Saebjornsen

With her distinctive ice maiden delivery, Claudia Brücken is the undoubted queen of cinematic avant pop.

She first came to prominence with PROPAGANDA and the Trevor Horn produced film noir drama of ‘Dr Mabuse’. Together with Susanne Freytag, Michael Mertens and Ralf Dörper, the Düsseldorf based quartet released their acclaimed album ‘A Secret Wish’ on ZTT in 1985. But despite the album being a favourite of musical figures such as Quincy Jones, Martin Gore, John Taylor and Jim Kerr, PROPAGANDA split following business and creative tensions as a result of their deal with ZTT.

Remaining with ZTT, Brücken formed ACT with early electronic pioneer Thomas Leer and released an album ‘Laughter Tears & Rage’ in 1988 which featured an array of lush synthetic dynamics glossed with a touch of starlet glamour. Not one to rest on her laurels, her first solo album ‘Love: & A Million Other Things’ came in 1991 on Island Records before she took a career break.

There was a brief reunion of PROPAGANDA in 1998 with ‘Ignorance’, ‘No Return’, ‘To The Future’ and ‘Turn To The Sun’ among the songs demoed. Although a video for ‘No Return’ was produced, the title proved poignant so when that came to nought, Brücken spent much of the new millennium’s first decade working and touring with OMD’s Paul Humphreys in ONETWO, supporting ERASURE and THE HUMAN LEAGUE along the way.

Since then, she has released two further solo albums and more recently been spotted in the studio with Susanne Freytag and Stephen J Lipson, while a new collaborative project with Jerome Froese is also in progress.

Although her catalogue is wide and varied, Claudia Brücken is perhaps still very much regarded as a cult figure on the music scene. In 2011, she celebrated her career with a special show at The Scala in London with various friends and collaborators, all captured on the live DVD ‘This Happened’.

Certainly, she deserves greater recognition so with a restriction of one track per release of a very impressive collaborative portfolio, here is a 20 track Beginner’s Guide to her work…

TOPOLINOS Mustafa (1982)

Brücken and Freytag first met on the Düsseldorf scene based around Die Ratinger Straße. “There was this interaction between art and music happening and everyone kind of knew one another” she said. They formed TOPOLINOS, literally translated as ‘The Mickey Mouses’! Using a rhythm unit, budget organ lines and Middle Eastern flavoured vocal phrasing, ‘Mustafa’ appeared on ‘Partysnäks’, the soundtrack to ‘Die Tanzbeinsammler’.

Available on the compilation album Electri_City 2 (V/A) via Grönland Records

PROPAGANDA p: Machinery (1985)

At the suggestion of Freytag, Brücken was recruited into PROPAGANDA and they were marketed as “ABBA in Hell”! ‘p: Machinery’ captured their Teutonic edge and the charm of state-of-the-art technology. Produced by Stephen J Lipson, the song also had an unexpected contributor as Brücken recalled: “It was amazing when David Sylvian came in. On ‘p: Machinery there is this line he wrote on a little keyboard…”

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

GLENN GREGORY & CLAUDIA BRÜCKEN When Your Heart Runs Out Of Time (1985)

Brücken and the HEAVEN 17 vocalist met during the video shoot for ‘Dr Mabuse’ as Gregory’s then-wife did the make-up. Written by Will Jennings, best known for ‘My Heart Will Go On’ from ‘Titanic’ and ‘Up Where We Belong’ from ‘An Officer & A Gentleman’, ‘When Your Heart Runs Out of Time’ was recorded for the film ‘Insignificance’ and produced by Midge Ure under the pseudonym of Otto Flake Junior.

Available on the compilation album ‘The Art Of The 12 Inch’ (V/A) via Union Square

ACT Absolutely Immune (1988)

After PROPAGANDA fragmented, Brücken formed ACT with Thomas Leer in 1987. Working again with Stephen J Lipson, alongside the technological marvels came a more playful, decadent glamour with some political flirtations. ‘Absolutely Immune’ was a commentary on the apathy of the nation at large with its “I’m alright Jack” selfishness, the sentiment lost on a British public still drowned in blue emotion.

Available on the ACT album ‘Love & Hate’ via Union Square

JIMMY SOMERVILLE Run From Love (1990)

The acclaim and respect that ‘A Secret Wish’ attained led to Brücken being offered many opportunities to collaborate. One of the first came from Jimmy Somerville. ‘Run From Love’ was a lesser known BRONSKI BEAT number reworked in a more house fashion by S’EXPRESS producer Pascal Gabriel for the diminutive Glaswegian’s greatest hits collection and Ms Brücken provided backing vocals in the chorus.

Available on the JIMMY SOMMERVILLE album ‘The Singles Collection 1984/1990’ via London Records

CLAUDIA BRÜCKEN Absolut[e] (1991)

Despite ACT ending, Brücken signed a deal with Island Records for her debut solo album produced by Pascal Gabriel. ‘Absolut[e]’ was very much dominated by Gabriel’s dancefloor instincts. But all was not well within. “The MD from Island suddenly left and all the people who worked on my album left as well” she remembered, “A new guy came in and already I could sense what would happen, so Pascal and I decided to get really experimental”.

Available on the CLAUDIA BRÜCKEN album ‘Love: & A Million Other Things’ via Cherry Red Records

CHROME SEDUCTION Light The Way (1993)

Brücken took a career break to bring up her daughter Maddy, emerging only occasionally to record the odd guest vocal. ‘Light The Way’ with CHROME SEDUCTION was a frantic club number that also saw a reunion with former partner-in-crime Susanne Freytag. The project of Magnus Fiennes, brother of actors Joseph and Ralph, it was independently released by Mother Alpha Delta.

Available on the CLAUDIA BRÜCKEN album ‘ComBined’ via Union Square

THE BRAIN I’ll Find A Way (1996)

The project of Düsseldorf based DJ Dietmar Andreas Maier, ‘I’ll Find A Way’ was typical of the frantically paced Euro-Trance of the period along the lines of fellow Germans COSMIC BABY and SNAP! Co-written with Michael Mertens, the seed of a PROPAGANDA reunion began with a number of songs demoed but Brücken later announced: “The reunion was worth a try, but did not work out.”

Available on THE BRAIN single ‘I’ll Find A Way’ via BMG

OCEANHEAD Eyemotion (1997)

Continuing to contribute the occasional guest vocal, ‘Eyemotion’ was a co-write with John Etkin-Bell which coupled a shuffling drum loop with some beautifully chilled out atmospheres. Brücken’s breathy whispers and a muted synthetic brass motif à la PET SHOP BOYS provided the colourful sonics on an elegant piece of downtempo electronica, blowing away the likes of ENIGMA and SACRED SPIRIT.

Available on the OCEANHEAD single ‘Eyemotion’ via Land Speed Records

CLAUDIA BRÜCKEN & PAUL RUTHERFORD This Is Not America (2000 – not released until 2011)

After the aborted reunion of PROPAGANDA, Brücken accepted an invitation in 2000 to join Paul Humphreys on his solo tour of the US, one of the first recorded fruits of their partnership was a cover of ‘This Is Not America’ featuring a duet with FRANKIE GOES TO HOLLYWOOD’s Paul Rutherford A beautifully crafted synthesized tribute to David Bowie & Pat Metheny, it had been intended for a film soundtrack but shelved.

Available on the CLAUDIA BRÜCKEN album ‘ComBined’ via Union Square

APOPTYGMA BERZERK Unicorn – Duet Version (2002)

Europe maintained a vibrant industrial music scene and in a one-off collaboration with Norway’s cult electronic body merchants APOPTYGMA BERZERK, Brücken returned to the more Teutonic overtones evident in PROPAGANDA. In an electronic rework of the heavier guitar focussed original, the combo provided a suitably aggressive but accessible backing track for her to duet with frontman Stephan Groth on ‘Unicorn’.

Available on the APOPTYGMA BERZERK album ‘Harmonizer’ via WEA

ONETWO Cloud 9ine (2004)

Brücken formalised her musical partnership with Paul Humphreys and together they named themselves ONETWO. They dusted off a track that had been demoed during the aborted PROPAGANDA reunion. The song in question was ‘Cloud 9ine’, a co-write with Martin Gore which also featured the guitar of DEPECHE MODE’s main songwriter. It was the stand-out song on ONETWO’s debut EP ‘Item’.

Available on the ONETWO EP ‘Item’ via https://theremusic.bandcamp.com/

ANDY BELL with CLAUDIA BRÜCKEN Delicious (2005)

Brücken joined ERASURE’s Andy Bell to sing on two tracks for his debut solo album ‘Electric Blue’. More club oriented than ERASURE, it was produced by THE MANHATTAN CLIQUE who were also part of the ONETWO live band. The call-and-response Hi-NRG stomp of ‘Delicious’ saw Brücken in her most playful mood since ACT and in rare poptastic glory, despite the bittersweet, reflective lyrical nature of the song.

Available on the ANDY BELL album ‘Electric Blue’ via Sanctuary Records

CLAUDIA BRÜCKEN & ANDREW POPPY Libertango (2005)

Brücken teamed up with former ZTT label mate Andrew Poppy to record a number of stripped back covers for her first long form release since 1991. The songs came from bands such as RADIOHEAD and ASSOCIATES, as well as divas like Marianne Faithfull and Kate Bush. One highlight was a dramatic take on ‘Libertango’, better known as ‘I’ve Seen That Face Before’ made famous by Grace Jones.

Available on the CLAUDIA BRÜCKEN & ANDREW POPPY album ‘Another Language’ via http://theremusic.bandcamp.com/

ONETWO Anonymous (2007)

Humphreys and Brücken finally released an album as ONETWO in 2007 and from it was ‘Anonymous’, a song that began life as a demo from the aborted PROPAGANDA reunion that had been co-written with Andy McCluskey. The pretty ringing melodies and elegiac atmospheres were reminiscent of OMD. The collaboration had been unusual as at the time of conception as Humphreys had not yet rejoined his old band.

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

BLANK & JONES Don’t Stop (2008)

In between the aborted PROPAGANDA reunion and ONETWO, Brücken guested with the popular German dance duo BLANK & JONES on ‘Unknown Treasure’, a most gorgeously shuffled electrobeat ballad. The parties reunited in 2008 but while ‘Unknown Treasure’ was in her words, “a real collaboration”, “’Don’t Stop’ was in reverse, they gave me all the music and then I did the words and sent it back to them”.

Available on the BLANK & JONES album ‘The Logic Of Pleasure’ via Soundcolours

CLAUDIA BRÜCKEN & THE REAL TUESDAY WELD The Things I Love (2011)

Rockstar Games wanted a German singer for a new game called ‘LA Noire’ soundtracked by THE REAL TUESDAY WELD’s Stephen Coates who was known for producing jazzy cabaret-style music with subtle electronica influences. “I thought: why not?” said Brücken, “I heard the songs and thought they were so beautiful. I found it a really good challenge doing something I hadn’t done before”. ‘The Things I Love’ was the alluring highlight of three songs recorded.

Available on the soundtrack album ‘L.A. Noire’ (V/A) via Rockstar Games

CLAUDIA BRÜCKEN One Summer Dream (2012)

The B-side to ELECTRIC LIGHT ORCHESTRA’s ‘Mr Blue Sky’, ‘One Summer Dream’ was the first song to emerge from Brücken’s reinterpretations project with producer Stephen Hague which also included songs by Julee Cruise and David Bowie as well as new versions of songs he’d originally worked on by PET SHOP BOYS and DUBSTAR. It built to a dreamy John Barry influenced ‘Felt Mountain’-era GOLDFRAPP string arrangement.

Available on the CLAUDIA BRÜCKEN album ‘The Lost Are Found’ via There (there)

OMD Kissing The Machine (2013)

Although this co-write by Andy McCluskey and Karl Bartos first appeared in 1993 on the ELEKTRIC MUSIC album ‘Esperanto’, Paul Humphreys completely reworked the backing track of ‘Kissing The Machine’from scratch for OMD. “Paul had the idea of asking Claudia to do the vocal in the middle eight” remembered McCluskey before thinking “y’know, could you ask Claudia to do it in German as well?”... the result was electronic magic.

Available on the OMD album ‘English Electric’ via BMG

CLAUDIA BRÜCKEN Time To Make Changes (2014)

The biggest surprise musically on Brücken’s third solo album was her adoption of the acoustic guitar. Working with producer John Owen Williams, the songs dealt with “emotion, beginnings, endings, past life and future hopes”. Like ABBA meeting THE SMITHS in a lush organic backdrop, ‘Time To Make Changes’ very much reflected her personal mindset following the end of her relationship with Paul Humphreys.

Available on the CLAUDIA BRÜCKEN album ‘Where Else…’ via Cherry Red Records

For further information on the upcoming projects of Claudia Brücken, please visit her official website and Facebook page

http://www.claudiabrucken.co.uk

https://www.facebook.com/ClaudiaBruckenMusic

https://twitter.com/ClaudiaBrucken1

https://www.instagram.com/claudiabrucken/

Text by Chi Ming Lai
30th July 2016

A Beginner’s Guide To TREVOR HORN

13 February 2016 / electricityclub

Trevor Horn is a producer who can be said to have shaped modern pop music.

He began his professional music career as a session bassist, most notably for UK disco starlet Tina Charles and her producer Biddu.

Another member of her backing band was keyboard player Geoff Downes; together they would go on to form BUGGLES and score a No1 in 1979 with ‘Video Killed The Radio Star’.

But Horn’s pop stardom was to be short-lived. Despite their musical virtuosity, BUGGLES were an unusual looking pair… so with his best interests at heart, his wife and business partner Jill Sinclair advised that while he wasn’t going to be the greatest frontman in the world, there was a chance he could make it as a top record producer.

In 1981, Horn started a run of producing and co-writing four singles for pop duo DOLLAR; this attracted the attention of NME journalist Paul Morley and they would later establish the ZTT label through Island Records.

Also listening were Sheffield band ABC who asked him to produce their debut album ‘The Lexicon Of Love’. It was during these 1982 sessions that Horn brought together his classic studio team of arranger Anne Dudley, engineer Gary Langan and Fairlight specialist JJ Jeczalik for the first time; the three would later become THE ART OF NOISE.

During this early phase of his production career, Horn favoured the Fairlight CMI as his tool of choice; it had been demonstrated to him electronic music pioneer and Simmons SDS-V co-designer Richard James Burgess, who had worked with him on the first BUGGLES album ‘The Age Of Plastic’.

The Fairlight also allowed for many arrangement possibilities and not just one, but two, three or four different remixes of a single track, a promotional tactic that was employed heavily at ZTT with FRANKIE GOES TO HOLLYWOOD, THE ART OF NOISE, PROPAGANDA and ACT.

Horn had first become interested in more mechanised musical templates after hearing ‘Warm Leatherette’ by THE NORMAL in 1978. So when the Linn Drum Computer came along, it was like manna from heaven for the forward thinking Horn. He told The Guardian in 2004: “You could tell the Linn what to do, which was unbelievable because before then you had to tell the drummer what to do and he was generally a pain in the a*se”. However, Horn did use accomplished session musicians when needed to compliment his carefully controlled direction.

Horn would go on to win BRIT Awards for ‘Best British Producer’ in 1983, 1985 and 1992. In 2010, he received an Ivor Novello Award for ‘Outstanding Contribution to British Music’. His production portfolio is vast, taking in Paul McCartney, Tom Jones, Cher, Rod Stewart, Malcolm McLaren, Robbie Williams, Leann Rimes, Lisa Stansfield and Charlotte Church among many, plus lesser known acts such as INTERPLAY and THE MINT JULEPS.

Not necessarily collecting his best known or mainstream work, but certainly listing some of his more interesting adventures in modern recording, here are eighteen works from Trevor Horn that fit closest to the electro ethos of ELECTRICITYCLUB.CO.UK, presented in chronological order…

ABC Poison Arrow (1982)

ABC’s first single ‘Tears Are Not Enough’ produced by Steve Brown was loose, scratchy funk that fitted in with the times, but the Sheffield combo wanted to be a far more polished and approached Horn to hone their sound. The first fruit of labours was ‘Poison Arrow’ was held together with a drum machine backbone and augmented by some dramatic piano passages from Anne Dudley in her first session with Horn. The chemistry of all involved led to a musical masterpiece of the era, ‘The Lexicon Of Love’.

Available on the ABC album ‘The Lexicon Of Love’ via Mercury Records

http://www.abcmartinfry.com/

SPANDAU BALLET Instinction (1982)

Horn reworked Richard James Burgess’ production of ‘Instinction’ and threw in reworked synths from Anne Dudley and extra bombastic percussion; it saved SPANDAU BALLET’s career. However, further sessions were abandoned when, according to songwriter Gary Kemp in his autobiography ‘I Know This Much: From Soho to Spandau’, Horn wanted drummer John Keeble replaced with a drum machine. Kemp stuck by his bandmate and went with IMAGINATION producers Swain and Jolley for the ‘True’ album.

Available on the SPANDAU BALLET album ‘Gold : The Best Of’ via EMI Records

http://thestory.spandauballet.com/

YES Owner Of A Lonely Heart (1983)

In 1981, Horn had partly abandoned work on the second BUGGLES album to join Geoff Downes in YES; the press dubbed the new line-up YUGGLES! But Horn amicably left a few months later to finish what became ‘Adventures In Modern Recording’ and kickstart his production career. With Gary Langan and JJ Jeczalik on board, ‘Owner Of A Lonely Heart’, could be considered as the birth of THE ART OF NOISE; the stabbing samples of a jazz orchestra and tight programmed drums provided a distinctive counterpoint.

Available on the YES album ‘90125’ via Atlantic Records

http://www.jonanderson.com/

THE ART OF NOISE Moments In Love (1983)

THE ART OF NOISE “happened because of a happy accident” said Gary Langan. But Trevor Horn was not their producer – “Well, he wasn’t the producer!!” Langan clarified,“we were the producers! If I’m being really honest, we were a little naive. Anne, JJ and myself really had no intention of forming a band… so when we signed to ZTT, we needed somebody to do all the artwork and how it was going to portrayed which was really down to Paul and Trevor”. It was an indicator of how powerful Horn’s name had become.

Available on THE ART OF NOISE album ‘Who’s Afraid Of…?’ via Union Square / Salvo

http://www.theartofnoiseonline.com/

PROPAGANDA Dr Mabuse (1984)

Düsseldorf’s PROPAGANDA were the proto-LADYTRON or ABBA in Hell, depending on your point of view! They boasted within their ranks Ralf Dörper and Michael Mertens, plus two mini-Marlenes in Claudia Brücken and Susanne Freytag. The magnificent Fritz Lang film noir of ‘Dr Mabuse’ was their opening salvo. Produced by Horn, the success of FRANKIE GOES TO HOLLYWOOD however meant the producer’s helm was handed over to his engineer Stephen J Lipson, although Horn was later involved in the final mix.

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

http://www.propagandamachine.info/

FRANKIE GOES TO HOLLYWOOD The Power Of Love (1984)

A key signing to ZTT, regardless of who was actually playing and what the band would have achieved without Trevor Horn, in their short life FRANKIE GOES TO HOLLYWOOD were a thrilling adventure that wouldn’t have worked without the songs, which were largely written by Holly Johnson, Peter Gill and Mark O’Toole. ‘Relax’ and ‘Two Tribes’ got the ball rolling, but the classical grandeur of ‘The Power Of Love’ was an outstanding piece of work in anyone’s book.

Available on the album ‘Bang!: The Greatest Hits’ via Warner Music

http://www.frankiesay.com/

GODLEY & CREME Cry (1985)

After they left 10CC, Kevin Godley and Lol Creme’s appetite for experimentation with tracks like ‘Babies’ led them to be called “the older generation’s Depeche Mode” by Smash Hits. They also branched out into directing promo videos for VISAGE and DURAN DURAN. It was while doing videos for FRANKIE GOES TO HOLLYWOOD that they ended up working with Trevor Horn. Almost sparse by Horn’s standards with a metronomic tension alongside minimal guitar, ‘Cry’ was a terrific pop statement.

Available on the album ‘Cry: The Very Best Of’ via Polydor / Universal Music

http://www.trevorhorn.com/

GRACE JONES Slave To The Rhythm (1985)

Trevor Horn took his multiple remix approach to its zenith with Grace Jones’ seventh album; rather than actually do a collection of songs, why not do an album that was effectively multiple remixes and interpretations of one song? While the familiar single version of ‘Slave To The Rhythm’ was wonderful, sun-kissed funky pop, the album’s fifth track take was far more aggressive, with a punchy synth brass riff taking centre stage to make the most out of Miss Jones’ enigmatically frightening demeanour.

Available on the album ‘Slave To The Rhythm’ via Culture Factory

https://www.facebook.com/GraceJonesOfficial/

ACT Chance (1988)

Following her departure from PROPAGANDA, Claudia Brücken teamed up with early electro trailblazer Thomas Leer in ACT. The Trevor Horn produced ‘Chance’ was released as their third single, but withdrawn due to the 12″ mix containing an unauthorised varispeeded sample of ABBA’s ‘Take A Chance On Me’. Far more theatrical and spielerisch than PROPAGANDA, ACT were however, less well received with the eventual Stephen J Lipson produced ‘Laughter, Tears & Rage’ not making quite the impact that was hoped for.

Available on the album ‘Love & Hate’ via Union Square / Salvo

http://www.ztt.com/artists/act/

PET SHOP BOYS Left To My Own Devices (1988)

“Che Guevara and Debussy to a disco beat” was a concept coined by Horn while he was working in the studio with Neil Tennant and Chris Lowe. Taking in the then ubiquitous form of acid house, ‘Left To My Own Devices’ incorporated a dramatic string arrangement by Richard Niles and the opera stylings of soprano Sally Bradshaw. One of PET SHOP BOYS’ most striking recordings it had been intended to programme the synthesizers and record the orchestra in one day… six months later, the song was finished.

Available on the album ‘Introspective’ via EMI Records

http://www.petshopboys.co.uk/

SIMPLE MINDS Wall Of Love (1989)

The bombastic tendencies of the now stadium friendly SIMPLE MINDS were well-suited to the Trevor Horn treatment, although paradoxically by the time they got into the studio together in 1988, the Glaswegians were favouring a more restrained follow-up to the rock monster that was ‘Once Upon A Time’. Time has not been kind to ‘Street Fighting Years’ album, which now comes across as self-indulgent and over-politicised. But one track with a vibrant energy despite the soapbox was the more classic sounding ‘Wall Of Love’.

Available on the boxed set ‘Street Fighting Years’ via Virgin Records

http://www.simpleminds.com/

SEAL Crazy (1990)

SEAL found fame as the voice of ADAMSKI’s ‘Killer’ which reached No1 in 1990. Possessing a soulful voice that suited both dance and rock, Horn couldn’t believe his luck when he discovered he was a free agent. A deal with ZTT was sealed and their first single together was the mighty techno rock of ‘Crazy’. It was the perfect platform for SEAL’s crossover potential and the Paddington-born singer found fame in America with ‘Kiss From A Rose’, which was also produced by Horn and netted a 1995 Grammy Award.

Available on the album ‘Seal’ via ZTT Records

http://seal.com/

MARC ALMOND Jacky (1991)

If it wasn’t for Marc Almond, then the path for FRANKIE GOES TO HOLLYWOOD and PET SHOP BOYS might not have been so smooth. Signing with Warners, this cover of Jacques Brel’s ‘Les Chanson De Jacky’, made famous in an English version by Scott Walker, was a compromise reached by Almond to regain both his pop and artistic high ground. While basically a technologically enhanced remake of Walker’s cover, Horn’s production was mighty and cute, in a stupid arse way 😉

Available on the album ‘Tenement Symphony’ via Warner Music

http://www.marcalmond.co.uk/

MIKE OLDFIELD Sentinel (1992)

Virgin Records had always been pushing Mike Oldfiels for a ‘Tubular Bells II’ since the original in 1973. But ironically, when Oldfield departed the label for Warners, he did just that. Horn was a natural choice as producer for this long awaited follow-up. The first ‘Tubular Bells’ featured no synthesizers at all; with the titled inspired by an Arthur C. Clarke short story, not only did ‘Sentinel’ exploit the use of modern studio technology, but beautiful female vocals were also part of this more obviously melodic reprise.

Available on the album ‘Tubular Bells II’ via Warner Music

http://mikeoldfieldofficial.com/

TINA TURNER Whatever You Want (1996)

Written by Arthur Baker, Taylor Dayne and Fred Zarr, ‘Whatever You Want’ for Tina Turner was an archetypical production from Horn. Using the most up-to-date technology yet retaining a vital musicality, there was always space for the lead vocalist to perform to their maximum. However, it always was a time consuming process. Legend has it that when ROBBIE WILLIAMS handed over his demos for the 2009 album ‘Reality Killed The Video Star’, he apparently said to Horn “I’ll see you in six months!”

Available on the album ‘Wildest Dreams’ via EMI Music

http://www.tinaturnerofficial.com/

TATU Not Gonna Get Us (2002)

Faux lesbian duo Julia Volkova and Lena Katina caused a stir with the Horn produced No1 single ‘All The Things She Said’ and its accompanying video that broke many broadcast taboos. Much more interesting musically though was another Horn produced track ‘Not Gonna Get Us’. Sounding like THE PRODIGY fronted by fleas on helium, ‘Нас Не Догонят’ (as it was originally titled in Russian) was heavier than usual Europop, with a rebellious teenage angst message.

Available on the album ‘200 km/h In The Wrong Lane’ via Interscope Records

http://www.tatu.ru/

DELAYS Valentine (2006)

In 2003, Horn worked with Glaswegians BELLE & SEBASTIAN for the first time. And after the hangover of Britpop, indie bands were starting to embrace synths again. Southampton band DELAYS almost went the full hog with the brilliant ‘Valentine’, a Horn-assisted disco number. The pulsing sequences and syncopated rhythm section were pure DURAN DURAN, although Greg Gilbert’s raspy falsetto in the soaring chorus and some choppy guitar ensured the band weren’t totally detached from their roots.

Available on the album ‘You See Colours’ via Rough Trade

https://www.facebook.com/thedelays

PET SHOP BOYS I’m With Stupid (2006)

PET SHOP BOYS reunited with Trevor Horn, ‘I’m With Stupid’ was a perfect politically charged jape at the special relationship between George W Bush and Tony Blair. The satirical lyrical content was enhanced further with an amusing promo video featuring ‘Little Britain’ stars Matt Lucas and David Walliams. However, other than the brilliantly hypnotic opener ‘Psychological’, the remainder of the ‘Fundamental’ album was lacklustre, with the dreary Diane Warren penned ballad ‘Numb’ being a low point.

Available on the album ‘Fundamental’ via EMI Music

https://www.facebook.com/petshopboys/

Text by Chi Ming Lai
13th February 2016

25 FAVOURITE ARTIST COLLABORATIONS

25 May 2015 / electricityclub

Artist collaborations can be seen in several ways.

They are either a chance to take the best elements of great bands to form an even greater supergroup, or as has happened in many cases, there is a watering down of prime concepts which results in a fragmented mess of little interest to anyone.

So here are 25 artist collaborations that actually worked; the list is restricted to one song per main act, defined as being the one who released the parent album.

That means PET SHOP BOYS, who have been among the most ubiquitous and willing of conspirators, get to appear as themselves and as guests of ELECTRONIC and David Bowie while NEW ORDER’s Bernard Sumner appears as part ELECTRONIC as well as also moonlighting for THE CHEMICAL BROTHERS and Philip Oakey of THE HUMAN LEAGUE gets in there twice as a guest.

Over more recent years, there appears to have much more freedom for artists to collaborate, notably with SPARKS recently unveiled collaboration with Glasgow based art rockers FRANZ FERDINAND, named rather straightforwardly FFS. And this is reflected by this list here which has a bias towards new millennium recordings, although ELECTRICITYCLUB.CO.UK is pleased to say, this is a Calvin Harris free zone 😉

SYLVIAN SAKAMOTO Bamboo Houses (1982)

David Sylvian and Ryuichi Sakamoto were making their artistic presence felt outside of JAPAN and YELLOW MAGIC ORCHESTRA, and having collaborated on ‘Taking Islands in Africa’, another project was always on the cards. ‘Bamboo Houses’ expanded on the electro-acoustic textures of ‘Tin Drum’ over a catchy percussive framework courtesy of Steve Jansen. Sylvian delivered his usual mournful vocal but Sakamoto’s monologue and marimba gave the track ethnic authenticity.

Available on the DAVID SYLVIAN compilation ‘A Victim of Stars 1982-2012’ via Virgin Records

http://www.davidsylvian.com/

http://sitesakamoto.com/

MIDGE URE & MICK KARN After A Fashion (1983)

‘After A Fashion’ was a blistering sonic salvo that crossed the best of JAPAN’s rhythmical art muzak with ULTRAVOX’s ‘The Thin Wall’. However, it stalled at No39 in the UK singles charts and sadly, there was to be no album. But Karn later played on Ure’s ‘Remembrance Day’ in 1988 and Ure briefly joined JBK, the band formally known as JAPAN sans David Sylvian for an aborted project in 1992 that resulted in two songs ‘Cry’ and ‘Get A Life’. Sadly Karn passed away in 2011.

Available on the MIDGE URE album ‘No Regrets’ via Music Club Deluxe

http://www.midgeure.co.uk/

http://mickkarn.net/

SHARPE & NUMAN Change Your Mind (1985)

Very much seen as the odd couple, the duo’s promotional photos captured the curly haired jazz funk aficionado with The Iceman! Bill Sharpe was pianist with jazz fusion group SHAKATAK. Together with their drummer Roger Odell, they had written a piece of computerised electrofunk that needed a vocal. Engineered by Nick Smith who had also been working with Gary Numan, he suggested that the former Mr Webb would be ideally suited to the futuristic backing.

Available on the SHARPE & NUMAN album ‘Automatic’ via Cherry Pop

http://www.numan.co.uk

http://www.billsharpe.com

LES RITA MITSOUKO & SPARKS Singing In The Shower (1990)

In France, LES RITA MITSOUKO became unlikely pop stars thanks to danceable hit singles such as ‘Marcia Baïla’ and ‘C’est Comme Ça’. Vivacious singer Catherine Ringer and oddball instrumentalist Fred Chichin were influenced by the eccentric overtures of SPARKS and with a moniker in a similar vein to their ‘Kimono My House’, an artistic union was inevitable. With the two duos “feeling dirty and feeling clean”, the catchy ‘Singing In The Shower’ was a hit in Europe.

Available on the LES RITA MITSOUKO album ‘Marc & Robert’ via Virgin France

http://www.catherineringer.com/

http://allsparks.com/

ELECTRONIC featuring PET SHOP BOYS The Patience Of A Saint (1991)

‘The Patience Of A Saint’ from ELECTRONIC’s debut was undoubtedly the highlight of that album. Featuring the involvement of both PET SHOP BOYS, the witty exchange between Bernard Sumner and Neil Tennant was accompanied by a gorgeous backing track of drum machine, swimmy string synth and minimal guitar. The song was premiered in front of 60,000 people when ELECTRONIC supported DEPECHE MODE at Dodger Stadium in August 1990.

Available on the ELECTRONIC album ‘Electronic’ via Warner Music

http://www.feeleverybeat.co.uk/

http://www.petshopboys.co.uk/

808 STATE featuring IAN McCULLOCH Moses (1993)

Following the departure of founder member Martin Price, ‘Gorgeous’ was 808 STATE’s first album as a three piece. Featuring early mash-up experiments based around UB40, THE JAM and JOY DIVISION, one of the wholly original compositions though was ‘Moses’, a rare electronically backed outing by ECHO & THE BUNNYMEN’s Ian McCulloch. Sounding like NEW ORDER with a Scouse snarl, the unusual but enjoyable partnership was the highlight of the album.

Available on the 808 STATE album ‘Gorgeous’ via ZTT Records

http://www.808state.com/

http://www.bunnymen.com/

ELEKTRIC MUSIC featuring ANDY McCLUSKEY Kissing The Machine (1993)

Recorded for his ELEKTRIC MUSIC project after leaving KRAFTWERK, Karl Bartos’ collaboration with OMD’s Andy McCluskey featured one of his best melodies synth melodies. Bartos said “He suggested we do something together and I was up for it… We picked some cassettes and finally I found the opening notes of ‘Kissing The Machine’”. With fabulously surreal lyrics about a love affair with a sexy robot, it became a cult favourite. OMD resurrected the song in 2013.

Available on the ELEKTRIC MUSIC album ‘Esperanto’ via SPV Records

http://www.karlbartos.com/

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

LEFTFIELD LYDON Open Up (1993)

John Lydon had shown himself to be open to collaboration following 1984’s ‘World Destruction’ as TIME ZONE with electro rap pioneer Afrika Bambaataa. But ‘Open Up’ with the then relatively unknown dance duo LEFTFIELD came as something of a surprise. Lydon was suitably angry as he reflected on the tensions of his adopted home with a screaming “Burn Hollywood, burn!” over an intense electronic soundtrack.

Available on the LEFTFIELD album ‘A Final Hit’ via Sony Music

http://www.leftfieldmusic.com/

http://www.johnlydon.com/

DAVID BOWIE featuring PET SHOP BOYS Hallo Spaceboy (1996)

BLUR’s Alex James once remarked that having a PET SHOP BOYS remix was like having your dog being taken for a walk, but then, when it came back, it was a different dog! PET SHOP BOYS certainly re-produced this Bowie/Eno composition from ‘1.Outside’ into a much more commercial proposition, even utilising the cut-up technique to decide which words Neil Tennant would sing. Reaching No12, ‘Hallo Spaceboy’ became Da Dame’s biggest UK hit since ‘Jump They Say’ in 1990!

Available on the DAVID BOWIE album ‘Nothing Has Changed’ via EMI Music

http://www.davidbowie.com/

http://www.petshopboys.co.uk/

THE CHEMICAL BROTHERS featuring BERNARD SUMNER Out Of Control (1999)

‘Out Of Control’ was THE CHEMICAL BROTHERS’ sonic template actually fulfilling its potential within a song based format with Bernard Sumner as the willing conspirator. ‘Out Of Control’ had everything from a bombastic backbeat and cerebral sequences to bizarre lyrics, especially when Sumner resigned that “maybe my moustache is too much…”. The association with Sumner continued when they produced NEW ORDER’s terrific ‘Here To Stay’.

Available on THE CHEMICAL BROTHERS album ‘Singles 93-03’ via Virgin Records

http://www.thechemicalbrothers.com/

http://www.neworder.com

SYSTEM F featuring MARC ALMOND Soul On Soul (2001)

Ferry Corsten had a huge international hit in 1999 with ‘Out Of The Blue’ under his SYSTEM F moniker. It highlighted the spiritual connection between synthpop and trance so to substantiate the link further, the Rotterdam based producer recruited Marc Almond to guest on the blinding ‘Soul On Soul’ for a spirited, club friendly workout. This all tied in nicely with SOFT CELL’s comeback album ‘Cruelty Without Beauty’ in 2002.

Available on the album ‘Out Of The Blue’ via Tsunami Records

http://www.ferrycorsten.com/

http://www.marcalmond.co.uk/

X-PRESS2 featuring DAVID BYRNE Lazy (2002)

The Dumbarton born TALKING HEADS frontman was back in the mainstream limelight for the first time since the band disbanded in 1991 with this superb online collaboration with British DJ duo X-PRESS2. David Byrne gave his best afflicted ‘Psycho Killer’ meets ‘Once In A Lifetime’ warble for what became a No2 UK chart hit. He later reworked ‘Lazy’ with orchestral embellishments for his 2004 solo long player ‘Grown Backwards’.

Available on the X-PRESS2 album ‘Muzikizum’ via Skint Records

http://www.skintentertainment.com/artists/skint/x-press-2

http://davidbyrne.com/

JUNKIE XL featuring DAVE GAHAN Reload (2003)

‘Reload’ was a welcome relief after DEPECHE MODE’s paradoxically titled ‘Exciter’. The brief sojourn with Dutch producer Tom Holkenborg aka JUNKIE XL proved once and for all how well Dave Gahan’s voice worked on uptempo electronic dance tracks. He may be more interested in MUMFORD & SONS these days, but frankly, over a lively synth laden backbone is where he sounds best. The ‘Radio JXL: A Broadcast from the Computer Hell Cabin’ album also featured Gary Numan!

Available on the JUNKIE XL album ‘Radio JXL: A Broadcast From the Computer Hell Cabin’ via EMI Music

http://www.junkiexl.com/

http://www.davegahan.com

ERASURE featuring CYNDI LAUPER (2007)

Ms Lauper was heading towards a career renaissance with her excellent ‘Bring Ya To The Brink’ album in 2008 so her collaboration with ERASURE in 2007 was quite timely. A soulful slice of Trans-Atlantic synthpop, ‘Early Bird’ was an enjoyable duet between her and Andy Bell that turned out to be the one of the more memorable tracks that emerged from ERASURE’s rather lukewarm ‘Light At The End Of The World’ sessions.

Available on the ERASURE EP ‘Storm Chaser’ via Mute Records

http://www.erasureinfo.com/

http://www.cyndilauper.com

LITTLE BOOTS featuring PHILIP OAKEY Symmetry (2009)

At the time ‘Symmetry’ was unveiled, THE HUMAN LEAGUE had not released any new material since 2001. With a fabulous chorus, this was the nearest thing to a new HUMAN LEAGUE track with Victoria Hesketh doing her best Susanne Sulley impression. So when it was Phil talking, it was magic. “Tell me your dreams and I’ll tell you all my fears” he announced, as they complimented each other in a way that had not really even been heard on a League record before.

Available on the LITTLE BOOTS album ‘Hands’ via 679 Recordings

http://www.littlebootsmusic.co.uk

http://www.thehumanleague.co.uk

MY ROBOT FRIEND featuring ALISON MOYET Waiting (2009)

MY ROBOT FRIEND aka Howard Rigberg created the song ‘We’re The Pet Shop Boys’ in honour of Messrs Tennant and Lowe, who subsequently covered it by way of a reverse compliment. Rigberg went recruited Alison Moyet for her first purely electronic adventure since the YAZOO days on ‘Waiting’. This welcome union with its off-kilter synth sounds alongside her voice no doubt helped ignite her interest in working within the genre again, the result of which was 2013’s ‘the minutes’.

Available on the MY ROBOT FRIEND album ‘Soft-Core’ via Double Feature/Worried Rainbow

http://www.myrobotfriend.com/

http://www.alisonmoyet.com/

PET SHOP BOYS featuring PHILIP OAKEY This Used To Be The Future (2009)

‘This Used To Be The Future’ was a dream trioet that featured Neil Tennant, Philip Oakey and Chris Lowe. With Lowe singing as opposed to just speaking, this triumphant celebration of yesterday’s tomorrow saw Oakey deadpan disappointedly that things didn’t quite turn out how Raymond Baxter predicted on ‘Tomorrow’s World’! He finally resigns himself and at grunts“AMEN!”.

Available on the PET SHOP BOYS album ‘Yes: Further Listening 2008-2010’ via EMI Music

http://www.petshopboys.co.uk/

http://www.thehumanleague.co.uk

RÖYKSOPP featuring ROBYN The Girl & The Robot (2009)

The centrepiece of RÖYKSOPP’s third album ‘The Girl & The Robot’ was perhaps the culmination of Robyn’s steady rise as a truly independent female artist. Despite having gained success in 1997 with the R’n’B tinged ‘Show Me Love’, her superiors at BMG reacted negatively to her new electropop aspirations inspired by THE KNIFE. Frustrated, she bought herself out of her contract and set up her own Konichiwa Records, giving her the freedom to work with whoever she wanted.

Available on the RÖYKSOPP album ‘Junior’ via Wall Of Sound / PIAS

http://royksopp.com/

http://robyn.com/

BLANK & JONES featuring CLAUDIA BRÜCKEN Don’t Stop (2010)

The German dance duo had previously worked with Miss Brücken on ‘Unknown Treasure’, a most gorgeous electrobeat ballad from 2003. ‘Don’t Stop’ was a progression on that but with a wider texture pallet and more abstract electronic overtones. Despite being less song based and having been collaborated on seperately from Blank and Jones, vocally it is classic Claudia with its spoken verse and sexy ice maiden delivery in chorus.

Available on the BLANK & JONES album ‘The Logic Of Pleasure’ via Kontor Records

http://www.blankandjones.info

http://www.claudiabrucken.co.uk

CRYSTAL CASTLES featuring ROBERT SMITH Not In Love (2010)

Re-recorded for single release, Alice Beer took a breather to allow guest Robert Smith from THE CURE to take lead vocals on ‘Not In Love’, a dark but accessible number from CRYSTAL CASTLES’ second album. Smith more than fitted in with the Canadian duo’s aggressive and occasionally chaotic electronic template on this frantic uncovering of a song originally recorded by obscure Toronto new wave combo PLATINUM BLONDE.

Available on the CRYSTAL CASTLES featuring ROBERT SMITH single ‘Not In Love’ via Last Gang/Fiction Records

http://www.crystalcastles.com/

http://www.thecure.com

MOTOR featuring MARTIN L GORE Man Made Machine (2012)

MOTOR’s electro stomper ‘Man Made Machine’ featured vocals by DEPECHE MODE’s Martin Gore in a collaboration which came over a bit like a camp IGGY POP. Gore certainly sounded a touch nervous and uneasy, luring over the duo’s brand of harder edged schaffel techno which only enhanced its appeal. Incidentally, the same titled parent album also featured guests such as GARY NUMAN, BILLIE RAY MARTIN and NITZER EBB’s Douglas J McCarthy.

Available on the MOTOR album ‘Man Made Machine’ via CLR

http://www.wearemotor.com

http://www.martingore.com

FOTONOVELA featuring MIRRORS Our Sorrow (2013)

Not content with producing MARSHEAUX and collaborating with OMD on ‘Helen Of Troy’, Greek duo FOTONOVELA released a more song based second album featuring a number of prominent international vocalists entitled ‘A Ton Of Love’. One of the numbers ‘Our Sorrow’ featured James New from the much missed MIRRORS. In the vein of classic OMD, New’s majestic vocal touching the heartstrings, the wonderful melancholy was perfect, soulful electronic pop.

Available on the FOTONOVELA album ‘A Ton of Love’ via Undo Records

http://www.facebook.com/undofotonovela

http://www.facebook.com/theworldofmirrors

JOHN FOXX & JORI HULKKONEN Evangeline (2013)

Foxx and Hulkkonen had worked together previously on various one-off songs like ‘Dislocated’ and ‘Never Been Here Before’ but had never before attempted a body of work with a conceptual theme. When the two found some collaborative time together, the result was ‘European Splendour’, an EP with a grainier downtempo template than before. The lead track ‘Evangeline’ was full of depth, coupled with an anthemic chorus.

Available on the JOHN FOXX & JORI HULKKONEN EP ‘European Splendour’ via Sugarcane Records

http://www.metamatic.com/

http://www.jorihulkkonen.com

SIN COS TAN featuring CASEY SPOONER Avant Garde (2013)

SIN COS TAN’s Jori Hulkkonen first found fame as part of TIGA & ZYNTHERIUS back in 2001 at the height of the Electroclash movement. ‘Avant Garde’ saw Casey Spooner from the scene’s flag bearers FISCHERSPOONER make a guest appearance on the duo’s second long player ‘Afterlife’. The track itself though was more like THE CURE produced by PET SHOP BOYS with Spooner providing a suitably cynical snarl to contrast Juho Paalosmaa’s impassioned lost boy cry.

Available on the SIN COS TAN album ‘Afterlife’ via Solina Records

http://sincostan.net/

http://www.fischerspooner.com

iEUROPEAN featuring WOLFGANG FLÜR Activity Of Sound (2014)

Although Wolfgang Flür’s last full album project was as YAMO with ‘Time Pie’ back in 1997, there was this marvellous electronic number entitled ‘Activity Of Sound’, recorded in collaboration with iEUROPEAN. The project of Dublin based artist Sean Barron, the additional female monologue was provided by Barron’s wife, Izabella. The track sees Herr Flür quoting an archive interview with the late avant garde composer John Cage to a soundtrack of hypnotic synthetic bliss.

Available on the iEUROPEAN featuring WOLFGANG FLÜR download single ‘Activity Of Sound’ via Subculture Records

https://www.facebook.com/pages/iEuropean/149564838461817

http://www.musiksoldat.de

Text by Chi Ming Lai
25th May 2015

25 SYNTH SINGLES THAT SHOULD HAVE BEEN HITS

3 January 2015 / electricityclub

Statistics can often not be a good indicator of quality and so it is that sometimes, a great single never actually attained the sales recognition it deserved. This could have been due to timing, lack of interest from a fickle music buying public or even a saturated market.

While some of these lost singles do get forgotten, many become live standards and firm fan favourites. So here are 25 singles from predominantly established acts or collectives featuring figures who are now well known in the music scene, that did not reach the UK Top 40 singles chart. Due to the sheer numbers of songs that are eligible, a cut-off point has been made for when CD singles started to become the norm around 1990.

After much deliberation, it was decided to leave out the work of ASSOCIATES as a number of their songs that would have been contenders for this list were featured in ELECTRICITYCLUB.CO.UK’s own Beginner’s Guide To Billy MacKenzie. There are of course, several other notable omissions, but this list could go on forever…

So with a restriction of one single per artist moniker, the list is presented in chronological order by year, and then alphabetically…

THE HUMAN LEAGUE Empire State Human (1979)

It seems strange now that this extremely catchy single failed to be a hit in an era when synthesizers were being accepted by the wider record buying public. After all, both SPARKS and TUBEWAY ARMY had entered the Top 20 with their Moog assisted ditties. In hindsight though, Colin Thurston’s production did sound comparatively thin next to ‘The Number One Song in Heaven’ and ‘Are Friends Electric?’. Despite a timely re-release in 1980, ‘Empire State Human’ only reached a high of No62.

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

http://www.thehumanleague.co.uk

LORI & THE CHAMELEONS Touch (1979)

THE CHAMELEONS (not to be confused with the cult Manchester band) were actually Zoo Records supremos Bill Drummond of THE KLF fame and country house resident Dave Balfe who played keyboards with THE TEARDROP EXPLODES. On the beautifully sequenced ‘Touch’, art school student Lori Lartey innocently told of her holiday romance in Tokyo. It spent one week at No70 when re-issued on Sire Records. There was to be just one more single entitled ‘The Lonely Spy’.

Available on the compilation album ‘North By North West’ (V/A) via Korova Records / Warner Music

http://www.penkilnburn.com/

JAPAN Gentlemen Take Polaroids (1980)

After three albums with Ariola Hansa, JAPAN decamped to Virgin Records and reached No60 with ‘Gentlemen Take Polaroids’, their first single release on the label. But much more was expected as the band were already playing huge venues such as The Bukodan in Tokyo. It would not be until Autumn 1981 following a cash-in release of ‘Quiet Life’ by their former label that David Sylvian and Co. were to become regular singles chart fixtures.

Full length version available on the JAPAN album ‘Gentlemen Take Polaroids’ via Virgin Records

http://www.nightporter.co.uk

ROBERT PALMER Johnny & Mary (1980)

Robert Palmer took an interest in synths having become a fan of Gary Numan and JAPAN. ‘Johnny & Mary’ was a beautifully world weary number that hit a high of No44. He later had massive success with a more rock flavoured sound while his bank balance was enhanced when the song was covered for the ‘Papa et Nicole’ Renault adverts. Bryan Ferry’s reinterpretation with Todd Terje exposed a twilight years scrutiny on the lyrics which sadly, Palmer himself was never able to do…

Available on the ROBERT PALMER album ‘Clues’ via Island Records / Universal Music

http://www.robertpalmer.com/

SIMPLE MINDS I Travel (1980)

SIMPLE MINDS were signed to Arista Records between 1979-1980 and like JAPAN, they were met with indifference by their label. ‘I Travel’ was their penultimate single at Arista who threw in a free blue flexidisc featuring ‘Kaleidoscope’ and ‘Film Theme Dub’ as a sweetener to early purchasers. But despite airplay at The Blitz Club where its futuristic frenzy was highly welcomed, ‘I Travel’ did not make any chart impact.

Available on the SIMPLE MINDS album ‘Celebrate: The Greatest Hits’ via Virgin Records

http://www.simpleminds.com

ULTRAVOX Passing Strangers (1980)

Things were heading in the right direction for the Mk2 line-up of ULTRAVOX following ‘Sleepwalk’ getting to No29 in the UK chart. Built around a more synth rock structure, ‘Passing Strangers’ had a great chorus and a sympathetic environment in which THE HUMAN LEAGUE and DEPECHE MODE were also managing to break through. But the single stiffed at No57 and it would take the massive surprise success of ‘Vienna’ in early 1981 to truly establish ULTRAVOX as a chart force.

Available on the ULTRAVOX album ‘The Collection’ via EMI Records

http://www.ultravox.org.uk

OUR DAUGHTER’S WEDDING Lawnchairs (1981)

New York’s OUR DAUGHTER’S WEDDING were one of the new synthpop acts to emerge from across the Atlantic and their best known song ‘Lawnchairs’ was a frantic mechanised combination of OMD and Gary Numan. Despite gaining regular radio play in the UK, its chart summit was No49. The trio later re-recorded ‘Lawnchairs’ with a more conventional live drum sound, but this template totally took the charm out!

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

http://www.synthpunk.org/odw/

SOFT CELL Memorabilia (1981)

Produced by Daniel Miller, ‘Memorabilia’ borrowed heavily from Cerrone’s ‘Supernature’. Released as a 12 inch single but relegated to B-side on the edited 7 inch with ‘A Man Could Get Lost’ as the A-side, Almond recalled a list of trashy souvenirs that were also metaphors for stalking. Dark yet danceable, despite not being a hit, ‘Memorabilia’ would later becitied as an influential proto-house classic.

Available on the SOFT CELL album ‘The Very Best Of’ via Phonogram / Universal Music

http://www.marcalmond.co.uk

BLANCMANGE Feel Me (1982)

If Ian Curtis had joined TALKING HEADS, then it might have sounded like this. “I always thought it was more David Byrne than Ian Curtis but, there was never any intention” recalled Neil Arthur in 2013, “We hired a Roland Jupiter 8, an ARP sequencer and a Korg MS20 plus a Linn LM-1 which Stephen Luscombe and I programmed up”. Reaching No46, ‘Feel Me’ always had untapped hit potential as FAITHLESS’ reworking using Arthur’s vocals proved.

Available on the BLANCMANGE album ‘Happy Families’ via Edsel Records

http://www.blancmange.co.uk

THOMAS DOLBY Europa & The Pirate Twins (1982)

With its thundering Simmons drums and glistening synth riff, ‘Europa & The Pirate Twins’ was based on a real life romance of Dolby’s: “I had a girlfriend and we used to fantasise that after the apocalypse, wherever we were, we would meet up on this beach in East Anglia where I grew up… I always thought she’d end up being this big movie star or something”. The song was not a Top40 hit, but entered the wider consciousness when it was used as the theme to BBC Radio1’s ‘Saturday Live’.

Available on the THOMAS DOLBY album ‘The Golden Age Of Wireless’ via EMI Records

http://www.thomasdolby.com

HEAVEN 17 Let Me Go (1982)

Glenn Gregory and Martyn Ware often cite ‘Let Me Go’ as their favourite HEAVEN 17 song. Propelled by a funky Roland TB303 Bassline before it was hijacked by Acid House, ‘Let Me Go’ had hit written all over it, but stalled at No41. But in a competitive Autumn ‘82 for new releases, later international hits like Thomas Dolby’s ‘She Blinded Me With Science’ and EURYTHMICS’ ‘Love Is A Stranger’ (on its initial release) were having difficulties getting into the UK Top40.

Available on the HEAVEN 17 album ‘The Luxury Gap’ via Virgin Records

http://www.heaven17.com

THE TEARDROP EXPLODES Tiny Children (1982)

THE TEARDROP EXPLODES may not have been a synthesizer driven group, but this marvellously haunting ballad was layered in Prophet5 courtesy of Dave Balfe while Julian Cope sounded like a distressed little boy, lost in his sunshine playroom. Mercury Records probably thought ‘Tiny Children’ would be a hit following the success of JAPAN’s ‘Ghosts’ but released in June 1982, the sonic chill was not what people were wanted as they prepared for their summer holidays!

Available on THE TEARDROP EXPLODES album ‘The Greatest Hit’ via Mercury / Universal Music

https://www.headheritage.co.uk/

TEARS FOR FEARS Suffer The Children (1982)

When TEARS FOR FEARS first appeared, they were trying to emulate OMD. ‘Suffer The Children’ took inspiration from Curt Smith and Roland Orzabal de la Quintana’s interest in Primal Scream therapy while musically, it recalled McCluskey and Humphreys’ ‘Pretending To See The Future’ but with more guitar. The child-like refrain by Ozabal’s wife within the bridge and coda would have actually sounded like an OMD hookline had it been played on synth.

Available on the TEARS FOR FEARS deluxe album ‘The Hurting’ via Mercury / Universal Music

http://tearsforfears.com/

VISAGE Pleasure Boys (1982)

In Autumn 1982, VISAGE were in a state of limbo following the departure of Midge Ure. But with John Luongo who had remixed ‘Night Train’ on board, the remaining quartet of Steve Strange, Rusty Egan, Billy Currie and Dave Formula plus new bassist Steve Barnacle explored New York electro. ‘Pleasure Boys’ was hard and aggressive with lyrics full of hedonism. But the New Romantic audience had moved on and sales were only enough for it to get to No44.

Full length dance mix version available on the VISAGE album ‘The Face – The Best Of’ via Universal Music

http://www.visage.cc/

DEAD OR ALIVE Misty Circles (1983)

Have courted the major labels, DEAD OR ALIVE finally settled on Epic Records and unleashed this vicious slice of electro gothic disco in ‘Misty Circles’ as their first single release for them. Featuring guitars from a soon-to-be-sacked Wayne Hussey, who went on to join THE SISTERS OF MERCY and then form THE MISSION, ‘Misty Circles’ had a highly unusual sound produced by Zeus B Held that was darker than the romping Hi-NRG that DEAD OR ALIVE were later to have hits with.

Full length version available on the DEAD OR ALIVE album ‘Evolution’ via Epic Records / Sony Music

http://www.deadoralive.net/

JOHN FOXX Endlessly (1983)

By 1983, JOHN FOXX had moved away from pure electronic music and was now listening to both SIMPLE MINDS and U2. His third solo album ‘The Golden Section’ took on a more pop oriented slant under the auspices of producer Zeus B Held ‘Endlessly’ was initially released in 1982 as a moody Linn drum heavy psychedelic romp and failed to chart. But for the new version, thundering sequencers, Simmons drums and a danced up euphoria were added… however, it still failed to be a hit.

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

http://www.metamatic.com

OMD Telegraph (1983)

‘Electricity’ would have been a hit had its sales not been spread over three separate releases with different recorded versions between 1979-80. ‘Telegraph’ was an angry metaphoric attack on religious fundamentalism in the USA, but considered to be the most commercial track on OMD’s brave but critically panned nautical adventure ‘Dazzle Ships’. With an infectious synth melody, what was there not to like? But OMD’s audience had diminished by this time and it only got to No42.

Available on the OMD album ‘Dazzle Ships’ via Virgin Records

http://www.omd.uk.com

TALK TALK My Foolish Friend (1983)

Produced by Rhett Davies who was best known for his slick touches on ROXY MUSIC’s ‘Avalon’, ‘My Foolish Friend’ was the last TALK TALK song to feature contributions from their original keyboardist Simon Brenner. Released between ‘The Party’s Over’ and ‘It’s My Life’ albums as a single, Mark Hollis was in wonderfully miserable mode over a dramatic synthesized backdrop. The single became lost when it only reached No57 and was not included on the ‘It’s My Life’ long player.

Available on the TALK TALK album ‘Asides Besides’ via EMI Music

http://www.spiritoftalktalk.com

THE BLUE NILE Tinseltown In The Rain (1984)

A classic song that sounded like THE PSYCHEDELIC FURS fronting OMD, ‘Tinseltown In The Rain’ is regarded as THE BLUE NILE’s signature tune. Released as part of a deal with hi-fi manufacturer Linn Products to showcase their flagship Sondek LP12 turntable, the gorgeous melancholy of ‘Tinseltown In the Rain’ had an understated quality that ensured the trio’s sporadic releases over the next 20 years were eagerly anticipated by the musical cognoscenti.

Full length version available on THE BLUE NILE album ‘A Walk Across The Rooftops’ via Virgin Records

http://www.thebluenile.net

CHINA CRISIS Arizona Sky (1986)

CHINA CRISIS are probably the most underrated band of their generation. Lyrically inspired by an artificially assisted gondola ride in Venice, ‘Arizona Sky’ was one of their many singles which deserved greater recognition. The nucleus of Gary Daly and Eddie Lundon usually managed at least one hit per album but with ‘Arizona Sky’, it was not to be. It settled at No47 despite the song’s brilliant singalong chorus, infectious synthesized textures and catchy “bop-bop-be-doo-dah” refrain.

Full length version available on the CHINA CRISIS album ‘Wishful Thinking: The Very Best Of’ via Universal Music

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

ERASURE Oh L’Amour (1986)

“Why are they doing a DOLLAR song?” someone was overheard at their first visit to an ERASURE concert. And this ultimately sums up why ‘Oh L’Amour’ should have been a massive hit. Its now highly collectable ‘Thomas The Tank Engine’ cover had to be withdrawn due to copyright infringement and wouldn’t have helped availability. However, it should be noted that the original artwork actually features two incidental characters from the Reverend W Audrey’s famous books…

Available on the ERASURE album ‘Always – The Very Best Of’ via Mute Records

http://www.erasureinfo.com

NEW ORDER Bizarre Love Triangle (1986)

One of NEW ORDER’s best loved tunes, ‘Bizarre Love Triangle’ only reached No56 in the UK singles chart. However, the version released was an irritating, dance enhanced remix by Shep Pettibone which took all the subtlety out of the song with its collage of overdriven percussive samples. Far better and much more commercial was an at-the-time unreleased remix by Stephen Hague which later formed the basis of the ’94 version on ‘(the best of)’ compilation.

Available on the NEW ORDER album ‘Singles’ via Rhino Records

http://www.neworder.com

ACT Snobbery & Decay (1987)

It was the height of Thatcherism and the Synclavier driven theatrics of ‘Snobbery & Decay’ were a sharp observation by Claudia Brücken and Thomas Leer on the state of the nation. However, the UK were not yet ready for an Anglophile German to tell them about its political decline… “No sadly they didn’t” remembered Claudia Brücken in Summer of 2010, “perhaps it was just not the right moment for this song… Thomas does think that perhaps we were ahead of our time”.

Available on the CLAUDIA BRÜCKEN album ‘ComBined – The Best Of’ via Salvo / Union Square Records

http://www.claudiabrucken.co.uk

KRAFTWERK The Telephone Call (1987)

The last single featuring the classic RFWK line-up, ‘The Telephone Call’ was the most immediate track on the disappointing ‘Electric Cafe’ album. Featuring lead vocals from Karl Bartos, despite the abundance of digital synthesis and sampling, ‘The Telephone Call’ still had all the usual Kling Klang hallmarks such as pretty melodies, syncopated rhythms and slightly off-key singing to make this to ‘Electric Cafe’ what ‘Computer Love’ was to 1981’s ‘Computer World’ opus.

Available on the KRAFTWERK album ‘Techno Pop’ via Mute Records

http://www.kraftwerk.com

CAMOUFLAGE The Great Commandment (1988)

Today, DEPECHE MODE influenced acts are common place but in 1988, this was highly unusual. Taking ‘Some Great Reward’ as their template, CAMOUFLAGE developed on the industrial flavoured synthpop of ‘Master & Servant’ and ‘People Are People’ which DM had all but abandoned from ‘Black Celebration’ onwards. ‘The Great Commandment’ was probably the best single DM never recorded but while it was a hit in Europe and the US, it made no impression in the UK.

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

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

Text by Chi Ming Lai
3rd January 2015

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2014

15 December 2014 / electricityclub

With a less intense release schedule than last year, it was a bit more straightforward to choose the songs of 2014.

Whereas 2013 had a short list of 45 songs, 2014 was closer to 35 although not the struggle to find 30 as was the case in 2012. So just missing out are CLIENT, KLEERUP and ToddTerje featuring Bryan Ferry, although not by much.

As usual, they are listed in alphabetical order and all have been released either in physical formats, or digitally as purchasable or free downloads during the calendar year. Thus although the excellent video for LIEBE’s ‘I Believe In You’ gained traction on MTV Europe in 2014, the song was actually released in 2013.

Tracks which are exclusive to streams, videos or DJ only promos are also not included; so QUIETER THAN SPIDERS ‘The Land Of Lost Content’ is not eligible. Limited to one song per artist moniker, here are the 30 Songs of 2014…

ANALOG ANGEL The Last Time

The transformation of Glaswegians ANALOG ANGEL in the last 18 months has been startling. From their third album ‘Trinity’, its closer ‘The Last Time’ was a big surprise, featuring a cinematic arrangement involving an orchestra cascading into an epic Pan-European journey heading eastwards. Recalling THE SISTERS OF MERCY’s ‘This Corrosion’, the virtual symphonic strings and gothic choirs gave an indication as to what OMD might have sounded like if Jim Steinman had been producing!

Available on the download album ‘Trinity’ via http://analog-angel.bandcamp.com/

http://www.analog-angel.com/

MARGARET BERGER Scream

‘Scream’ launched Margaret Berger’s first album ‘New Religion’ since 2006’s ‘Pretty Scary Silver Fairy’ although as yet, the new opus has yet to emerge. The Norwegian Idol finalist effectively revived her career with ‘I Feed You My Love’ which came fourth in Eurovision 2013. ‘Scream’ saw her continuing the Robyn meets DEPECHE MODE template of her Eurovision smash and possessed an inherent industrialised darkness in an approach to quality pop that set itself apart.

Available as a download single via iTunes Norway through Macho Records

http://www.margaretberger.com/

CLAUDIA BRÜCKEN Nevermind

The original first lady of cinematic electronic pop surprised everyone when she appeared on the cover of her third album ‘Where Else…’ with a guitar strapped to her back. But while the record had a folk and blues influence, the synthesized textures that Ms Brücken has been best known for were still very much part of the package. The launch single ‘Nevermind’ could be seen as a musical reply to OMD’s ‘Stay With Me’. A lovely mix of electronics and acoustic, she appears to be driven by a new artistic zest.

Available on the album ‘Where Else…’ via Cherry Red Records

http://www.claudiabrucken.co.uk

DAVIDGE featuring EMI GREEN Sleepwalking

DAVIDGE is best known for his work with MASSIVE ATTACK and has been involved in game and film soundtracks for many years. His first solo album ‘Slo Light’ was an impressive debut, containing many of the elements that marked his work with the Bristolian triphoppers. ‘Sleepwalking’ was a haunting number beautifully voiced by Eim Green which recalled the ethereal quality of COCTEAU TWINS’ Elizabeth Fraser and the electronically assisted Weimer Cabaret of ‘Felt Mountain’ era GOLDFRAPP.

Available on the album ‘Slo Light’ via 7Hz Recordings

http://www.neildavidge.com/

ERASURE Be The One (Paul Humphreys Remix)

Following the disappointment of 2011’s FRANKMUSIK driven ‘Tomorrow’s World’, ‘The Violet Flame’ produced by Richard X saw ERASURE express an infectious zest for the future. The songs began with pre-recorded dance grooves from Vince Clarke as represented by the euphoric opening track ‘Dead Of Night’. The best number from the package turned out to be a ballad remixed by Paul Humphreys who added some of the beautiful Synth-Werk magic that characterised OMD’s ‘English Electric’ to ‘Be The One’.

Available on the boxed set edition of ‘The Violet Flame’ via Mute Artists / Pledge Music

http://www.erasureinfo.com

FEATHERS Wild Love

Released in time for their DEPECHE MODE support tour in Europe, ‘Wild Love’ was far more dance-oriented than anything FEATHERS attempted on their debut album ‘If All Now Here’. While a heavy beat dominated, the essential component of a song remained, building to a suitably epic chorus providing that euphoric lift. The gated trance elements in the second chorus were a particular highlight, especially when backed by a screeching falsetto counterpoint. But just as it got going, it faded out!

Available on the download EP ‘Only One’ via http://feathers.bandcamp.com/album/only-one

http://www.feathers.fm/

GAZELLE TWIN Exorcise

The moniker of Elizabeth Bernholz, GAZELLE TWIN has acquired an impressive host of admirers including John Foxx, Gary Numan and Clint Mansell. Her second album ‘Unflesh’ has allowed the Brighton based songstress to extract her demons with some artistic violence. One of the highlights ‘Exorcise’ was an impressively aggressive cross between PINK FLOYD’s ‘One The Run’ and KRAFTWERK’s ‘Home Computer’. Its uneasy resonance was aided by Bernholz’s harsh, deadpan commentary.

Available on the album ‘Unflesh’ via Anti-Ghost Moon Ray

http://www.gazelletwin.com/

GIRL ONE & THE GREASE GUNS No Longer Spellbound

This mysterious combo with their lo-fi noise and motorik beats have revealed a series of energetic singles over the past two years including ‘Jessica 6’, a frantic salvo sounding like THE PIPETTES fronting an OMD assisted JOY DIVISION. But GIRL ONE & THE GREASE GUNS revealed a much softer side with ‘No Longer Spellbound’. With its beautiful atmospheric quality smothered in icy synth strings and grainy vox samples, if ‘Twins Peaks’ had been set in The Lake District, then the theme tune might sound a like this.

Available on the download EP ‘No Longer Spellbound’ via Squirrel Records

http://www.squirrelrecords.co.uk/girl-one-and-the-grease-guns/

HERCULES & LOVE AFFAIR feat JOHN GRANT I Try To Talk To You

Imagine Jim Morrison getting it on down at The Danceteria circa 1982! ‘I Try To Talk To You’ featuring the expansive baritone vocals of John Grant combined the best of classic New York electro disco and grand piano theatrics with an emotively soulful vocal. The courageous lyrics found Grant recalling when he discovered he was HIV positive. “I asked John to dig deep with his lyrical contribution” recalls HERCULES & LOVE AFFAIR mainman Andy Butler, “I had no idea he would dig so deep”.

Available on the album ‘The Feast Of The Broken Heart’ via Moshi Moshi

http://herculesandloveaffair.net/

http://johngrantmusic.com/

HUGH I Can’t Figure You Out

‘I Can’t Figure You Out’ sounds like another product of Scandinavia but in fact, HUGH hail from South London. The captivating, naive lead vocal from Izzy Brooks states “you know just how I feel” as she makes handle with care pleas like “don’t toy with me” and “careful with my heart” while the intensity builds like a pressure cooker. And this is all before a time signature change and some frustrating despair is released with her spirited jazzy refrain of “No, I can’t figure you out!” Now, who hasn’t been here before?

Available on the download EP ‘I Can’t Figure You Out’ via Hughlovehugh

http://hughmusic.co.uk/

IAMAMIWHOAMI Hunting For Pearls

IAMAMIWHOAMI, the electronic multimedia project fronted by Jonna Lee and produced by Claes Björklund returned with their second opus ‘Blue’. ‘Hunting For Pearls’ featured wonderfully pulsing sequences and trancey atmospheres, coupled with a beautifully rich vocal from Lee. With a mysterious falsetto reach, the air may be cold outside but inside, things are warm. If Kate Bush made a modern electronic dance record at ABBA’s Polar Studios, it would probably sound like this.

Available on the album ‘Blue’ via towhomitmayconcern

http://www.towhomitmayconcern.cc/

I AM SNOW ANGEL Let Me Go

Deep from within the Adirondack Mountains comes the beautifully gentle electronica of I AM SNOW ANGEL. The self-produced vehicle of singer / songwriter Julie Kathryn, the music evokes images of icy landscapes and crystalline hydro basins. The best track from her debut EP, ‘Let Me Go’ is rich in understatement and a Nordic styled tour de force swathed in melancholy, full of dreamy escapism. The full length album ‘Crocodile’ released in the Autumn did not disappoint either with its quietly subversive nature.

Available on the download EP ‘I Am Snow Angel’ via Amazon

http://iamsnowangel.com/

KID MOXIE Lacuna

With a breathier, more continental direction towards cinematic pop, The Kid effectively grew up with her second album ‘1888’. KID MOXIE’s widescreen soundscapes and dreamy demeanour saw a much more focussed work. ‘Lacuna’ means “an empty space” yet this song is filled with an enigmatic mystery as Elena Charbila applied some of the je nais se quoi first piloted on 2008’s ‘La Romance D’Hiver’ to the drifting, almost abstract electronic soundscape… and then there’s the pretty isolated piano ending!

Available on the download album ‘1888’ via Undo Records

http://www.facebook.com/kidmoxie

KLEERUP featuring SUSANNE SUNDFØR Let Me In

Having delivered one of the best synth based debut albums in recent years, any new Kleerup recording now lives with a high degree of expectation. ‘Let Me In’ featuring Susanne Sundfør, who voiced several tracks on RÖYKSOPP’s ‘The Inevitable End’ album, came over like Karin Park if she had joined latter day ROXY MUSIC. Retaining the original appeal of Kleerup’s debut, ‘Let Me In’ was brilliantly classic and yet modern with its more organic template and even funky template.

Available on the download EP ‘As If We Never Won’ via Warner Music

http://kleerup.net/

MACHINISTA Pushing The Angels Astray

MACHINISTA’s pairing of John Lindqwister and Richard Flow specialise in synthpop with a rock’n’roll edge. Their best offering from their debut album ‘Xenoglossy’ was the schaffel propelled ‘Pushing The Angels Astray’. Despite discussing the spectre of immortality, the sombre aura was balanced with a marvellous melodic line and fabulous chorus like ALPHAVILLE in their prime. The Nordic region continually shows how electronic music is done and many could do a lot worse than to observe how MACHINISTA go about their craft.

Available on the download album ‘Xenoglossy’ via Juggernaut Music Group

http://www.machinistamusic.com/

MARNIE Wolves

Released in the week of the Scottish Independence Referendum, MARNIE’s ‘Wolves’ was an appropriately soaring anthem “for anyone that doesn’t believe in sticking with the status quo, for anyone who has the heart to try and make a difference”. Certainly, the positive response she received for her debut long player ‘Crystal World’ and a return to her homeland has no doubt inspired her own independence. But with MARNIE due to release a second solo album in 2015, what does this all mean for LADYTRON?

Available as a download single via Les Disques du Crépuscule

http://www.helenmarnie.com

METROLAND Thalys

‘Trans Europe Express’ 21st Century style as Belgium’s favourite passengers METROLAND embarked on a maroon coloured rail journey through France and Germany via the Benelux basin on ‘Thalys’. The full length 11 minute version rhythmitised metal on metal while there were also London, Paris and Düsseldorf edits in this musical tie-in with the Thalys high speed train operator.

Available on the download EP ‘Thalys (London)’ via Alfa Matrix

http://www.metrolandmusic.com/

NIGHT CLUB She Wants To Play With Fire

Frisky vocalist Emily Kavanaugh and moody producer Mark Brooks began writing songs as NIGHT CLUB with the goal of creating dark – yet commercially accessible – synthpop. Developing on the Britney gone electro goth sound of their glorious 2013 single ‘Poisonous’, ‘She Wants To Play With Fire’ treaded on the darker, sleazy side of life and dysfunctional relationships with Kavanaugh out to take on her demented love rival.

Available on the download EP ‘Black Leather Heart’ via Gato Blanco

http://www.nightclubband.com

KARIN PARK Look What You’ve Done

Issued as a trailer for her new album ‘Apocalypse Pop’, ‘Look What You’ve Done’ is a feisty development of ‘Restless’ from Karin Park’s previous album ‘Highwire Poetry’. Wrestling within a fiery glam schaffel and a catchy chorus like an angry GOLDFRAPP, with THE KNIFE venturing into more uncompromising climes, the ‘other’ Karin ably fills the void now left vacant by the Drejers in avant pop. ‘Look What You’ve Done’ is a fine example of the Swede’s ambition to fit into both pop and experimental worlds.

Available as a download single via State Of The Eye Recordings

http://www.karinpark.com/

PAWWS Give You Love

With LITTLE BOOTS having gone dance and LA ROUX veering away from synthpop, there is now a vacancy for a new kooky homegrown female synth talent. One of the possible candidates is PAWWS, otherwise known on her passport as Lucy Taylor. She has labelled her music “upsetting disco” and ‘Give You Love’ lives up to that description. Certainly those who prefer their music with rough edges and are averse to female fronted synthpop will have their touch paper lit even further with this exquisite pop number.

Available on the download EP ‘Sugar’ via Best Fit Recordings

https://www.pawwsmusic.co.uk

HANNAH PEEL Fabricstate

Since playing with John Foxx, Hannah Peel’s own music has used more electronics alongside her beloved violin, musicbox, piano and trombone. ‘Fabricstate’ starts as a beautiful understated number before being bolstered by an unexpected but amazing whirring synth solo around a series of percussive clusters. When the warmth of the synthesizer is exploited and coupled with a classically trained background, the hybrid can result in a quietly subversive organic and technological fusion.

Available on the download EP ‘Fabricstate’ via My Own Pleasure

http://www.hannahpeel.com

FIFI RONG Next Pursuit

One musician taking electronic music into some intriguing fusions is Beijing born Fifi Rong. ‘Next Pursuit’ crosses the vocal mystery of Kelli Ali and the quirkiness of MOLOKO while throwing in a touch of Lana Del Rey and MAZZY STAR too. Crucially, the intriguingly soulful ‘Next Pursuit’ also adds in rhythmical variation as the rhythms click into action during the higher register vocal refrains while the verses are held together with a smokey allure.

Available on the download EP ‘Next Pursuit’ via Ditto Music

http://www.fifirong.com

ROBYN & RÖYKSOPP Monument (The Inevitable End Version)

Edited and rethought for ‘The Inevitable End’ album, ‘Monument’ was originally a spacey 10 minute epic now tightened to a more bite size and dare one say it, more enjoyable format sans saxophone over a hypnotic two chord structure. As usual, Robyn’s vocals are edgy and nonchalant while RÖYKSOPP’s electronic soundtrack ably hit the spot with its energized octave-jumping bassline.

Available on the album ‘The Inevitable End’ via Dog Triumph / Cooking Vinyl

http://royksopp.com/

http://robyn.com/

SIN COS TAN Love Sees No Colour

With their third album in as many years, Finnish duo SIN COS TAN went the concept album route for ‘Blown Away’, a midlife crisis story of a man who becomes a drug courier and goes on a journey of excess, fast money and hedonism. First single ‘Love Sees No Colour’ dressed NEW ORDER’s love technique in an OMD stylee with the result being a kaleidoscopic tune that managed to mix sunshine with melancholy.

Available on the album ‘Blown Away’ via Solina Records

http://sincostan.net/

SUSANNE SUNDFØR Fade Away

The Nordic vocalist of the moment has to be Susanne Sundfør who has worked with M83 and Kleerup. But she is probably best known for her work with fellow Norwegians RÖYKSOPP. Propelled by a pulsing electronic backbone, ‘Fade Away’ from Sundfør’s forthcoming album ‘Ten Love Songs’ sees her in rousing form with a tune that at times sounds almost like Scandinavian gospel. Meanwhile, a fabulous synth solo gets thrown into the bargain too.

Available as a download single via Sonnet Sound / Kobalt

http://susannesundfor.com/

TRUST Peer Pressure

One act establishing themselves in 2014 were TRUST from Toronto. Led by the polarising “Eeyore gone goth” moodiness of Robert Alfons, the ironically titled ‘Joyland’ was a excellent second album that captured the sleazy nature of a 21st Century SOFT CELL and attached it to the grumpiness of LEONARD COHEN. ‘Peer Pressure’ was a frantic but funky uptempo number featuring Alfon’s trademark vocal pitch shift technique that proved misery and dancing could actually go together.

Available on the album ‘Joyland’ via Arts & Crafts

http://ttrustt.com/

TWINS NATALIA Set Love Free

Touchingly melancholic with classic Weimar Cabaret melodies and vibrant Kling Klang interplay, TWINS NATALIA conjured up memories of holiday romances with pretty German frauleins and flirty French mademoiselles. Debut long player ‘The Destiny Room’ was many years in the making and did not disappoint. With the PET SHOP BOYS styled neo-orchestrated statement of ‘Set Love Free’, the song theatrically climaxed like a pomped up ‘Rent’ as a wonderful slice of joie de vivre to finish the main act.

Available on the album ‘The Destiny Room’ via Anna Logue Records

http://twinsnatalia.blogspot.de/

MIDGE URE Dark, Dark Night

While the romantically uptempo ‘Become’ was inevitably the focal point of Midge Ure’s ‘Fragile’ album, there were other songs that were easily its equal. The most notable of these was ‘Dark, Dark Night’, an online collaboration with Moby. Though derived from ‘Rockets’ on Moby’s ‘Destroyed’ opus, Ure exploited the original’s rich symphonic string sounds and chilled vibes. Building to an amazing climax with melodic screeches and a tremendous guitar solo from Ure, this was a partnership made in heaven.

Available on the album ‘Fragile’ via Hypertension Music

http://www.midgeure.co.uk/

VILE ELECTRODES Pandora’s Box

VILE ELECTRODES capitalised on their profile from supporting OMD’s German tour in 2013 by snaring prestigious Schallwelle Awards for Best International Act and Best International Album for their debut ‘The future through a lens’. ‘Pandora’s Box’ was an excellent previously unreleased song full of wobbling analogue vigour that initially came with the lavish ‘Pack Of Wolves’ three CD package and set the scene for a much anticipated follow-up long player.

Available on the download EP ‘Empire Of Wolves’ via http://vileelectrodes.bandcamp.com/

https://www.facebook.com/vileelectrodes

WRANGLER Lava Land

WRANGLER’s manifesto is to harness “lost technology to make new themes for the modern world”. And their signature track is ‘Lava Land’, a superb cross between CABARET VOLTAIRE and prime ‘Metamatic’ era John Foxx but with a modern twist. Stephen Mallinder’s voice manipulations range from demonic gargoyle to stern drowning robot. The frantic pace is strangely danceable, but the mood is distinctly unsettling and dystopian when the screeching steam powered Logan string machine kicks in.

Available on the album ‘LA Spark’ via MemeTune

https://www.facebook.com/mallinderbengewinter

Text by Chi Ming Lai
Wasp photo by Chi Ming Lai
15th December 2014

Tag: Claudia Brücken (Page 4 of 8)

A Beginner’s Guide To CLAUDIA BRÜCKEN

A Beginner’s Guide To TREVOR HORN

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