Tag: Dana Jean Phoenix (Page 4 of 4)

2018 END OF YEAR REVIEW

8 December 2018 /

2018 saw Jean Michel Jarre celebrate 50 years in the business and whether the world really needed another of his compilations, ‘Planet Jarre’ was probably one of the better collected representations of his work for casual admirers.

But not standing still and releasing his fourth new album in three years, ‘Equinoxe Infinity’ continued the story as the French Maestro tuned 70.

SOFT CELL made a totally unexpected return for a huge one-off farewell gig at London’s O2 Arena; and with it came a boxed set, the ‘Northern Lights’ single and other new recordings which have raised hopes for a new album.

From the same era, FIAT LUX announced plans for their debut album ‘Save Symmetry’ with an excellent lead track ‘It’s You’, while B-MOVIE came up with their most synth-propelled single yet in ‘Stalingrad’.

But one act who actually did comeback with a brand new album in 2018 were DUBSTAR; now a duo of Sarah Blackwood and Chris Wilkie, as ‘One’ they reminded audiences as to why they were the acceptable face of Britpop with their bridge to Synth Britannia. IONNALEE finally released her debut opus ‘Everyone Afraid To Be Forgotten’ and her tour which included choice cuts from IAMAMIWHOAMI, proved to be one of the best value-for-money live experiences in 2018, one that was even endorsed by Welsh songstress Charlotte Church.

CHVRCHES offered up their third album ‘Love Is Dead’ and continued their role as international flagwavers for quality synthpop, while EMIKA presented her best album yet in ‘Falling In Love With Sadness’, an exquisite electronic record with a Bohemian aura. John Grant was on an artistic roll both solo and in partnership with WRANGLER as CREEP SHOW with two new albums. However, he was beaten by Neil Arthur who managed three albums over a 12 month period as NEAR FUTURE and BLANCMANGE including ‘Wanderlust’, possibly the latter’s best body of work in its 21st Century incarnation.

It was a busy year for Steve Jansen with a new solo ambient work ‘Corridor’, the well-received vinyl reissue of JAPAN’s two Virgin-era studio albums and his epic, more organically flavoured band project EXIT NORTH with their debut long player ‘Book Of Romance & Dust’. Sarah Nixey went on some ‘Night Walks’ for her best solo album yet, a wonderful collection of everything she had ever been musically all wonderfully rolled into one. Meanwhile Tracey Thorn went back to the ‘Dancefloor’ with her ‘Record’ which content wise was right up there with some of Alison Moyet’s electronica output from the last five years.

Those who liked their electronic music darker were well served with NINE INCH NAILS, IAMX, KIRLIAN CAMERA and HELIX, but after experimenting with the single only format for a few years, Daniel Graves announced he was taking the plunge again with a new AESTHETIC PERFECTION album. The Sacred Bones stable provided some quality releases from Hilary Woods, Zola Jesus and John Carpenter. Meanwhile, providing some fierce socio-political commentary on the state of the UK was GAZELLE TWIN.

Hungary’s BLACK NAIL CABARET offered some noirish ‘Pseudopop’ and promising Norwich youngsters LET’S EAT GRANDMA got more deeply into electronica without losing any of their angsty teenage exuberance on their second album ‘I’m All Ears’. Less intense and more dreamy were GLASSHOUSE, the new duo fronted by former TECHNIQUE singer Xan Tyler.

Aussies CONFIDENCE MAN provided some wacky dancey glitz to the pop world and after nearly four decades in the business, Canadian trailblazers RATIONAL YOUTH finally played their first ever concert in London at ‘Non Stop Electronic Cabaret’ alongside dark wave compatriots PSYCHE and Numan-influenced Swedish poptronica exponents PAGE.

Sweden was again highly productive with Karin Park, Johan Baeckstrom and Val Solo while Norway took their own approach with FARAO, SOFT AS SNOW and ELECTRO SPECTRE setting their standard. Veteran Deutschlanders THE TWINS and PETER HEPPNER returned with new albums after notable recorded absences while next door in Belgium, METROLAND presented themselves as ‘Men In A Frame’.

While the new HEAVEN 17 album ‘Not For Public Broadcast’ is still to be finished, Glenn Gregory teamed by with live keyboardist Berenice Scott as AFTERHERE. Their long-time friend Claudia Brücken performed as xPROPAGANDA with Susanne Freytag and partnered up with one-time TANGERINE DREAM member Jerome Froese, releasing the ‘Beginn’ album in the process.

It was a year of interesting collaborations all-round with UNDERWORLD working with Iggy Pop, U96 linking up with Wolfgang Flür for an excellent single called ‘Zukunftsmusik’ and German techno pioneer Chris Liebing recruiting Polly Scattergood and Gary Numan for his Mute released album ‘Burn Slow’.

Based in Berlin, THE KVB offered up some brooding gothic moods with ‘Only Now Forever’ while Valerie Renay of NOBLESSE OBLIGE released her first solo album ‘Your Own Shadow’.

Highly appealing were a number of quirky Japanese influenced female artists from around the globe including COMPUTER MAGIC, MECHA MAIKO and PLASMIC. But there were also a number of acts with Far Eastern heritage like STOLEN, FIFI RONG, DISQO VOLANTE and SHOOK who continued to make a worthy impression with their recorded output in 2018.

Heavy synth rock duo NIGHT CLUB presented their ‘Scary World’ on the back of tours opening for COMBICHRIST and A PERFECT CIRCLE while also from across the pond, NYXX and SINOSA both showcased their alluring potential.

At the poppier end of the spectrum, Holger Wobker used Pledge Music to relaunch BOYTRONIC with their most recent vocal incumbent James Knights in an unexpected twist to once again prove the old adage to “never say never” as far as the music industry is concerned.

Meanwhile, Chris Payne co-wrote and co-produced the excellent ‘Walking In West Berlin’ EP with KATJA VON KASSEL while also revealing plans for an autobiography and opening for his old boss…

The surprise album of the year was Chris Catrer with his ‘Chemistry Lessons Volume One’ while using a not dissimilar concept with their second album ‘Hello Science’, REED & CAROLINE took their folk laden synthpop out on a US tour opening for ERASURE. IMMERSION provided a new collection of their modern Motorik as SHRIEKBACK, FISCHERSPOONER, THE PRESETS, HEARTBREAK and QUEEN OF HEARTS all made comebacks of varying degrees with audiences still eager for their work.

Steven Jones & Logan Sky harked back to the days when Gary Numan and OMD would release two albums in one year by offering ‘Hans Und Lieselotte’ and ‘The Electric Eye’ in 2016. Those veteran acts themselves celebrated their 40th anniversaries by going orchestral, something which SIMPLE MINDS also did when they opted to re-record ‘Alive & Kicking’ for the ’80s Symphonic’ collection although Jim Kerr forgot how a third of the song went!

With SIMPLE MINDS also performing a horrible and barely recognisable ‘Promised You A Miracle’ during BBC’s ‘The Biggest Weekend’, making up for the live joke that his former band have become was one-time bassist Derek Forbes with the album ‘Broken Hearted City’ as ZANTi with Anni Hogan of MARC & THE MAMBAS fame.

Other former members of high-profile bands were busy too with Ian Burden, formally of THE HUMAN LEAGUE returning with the Floydian ‘Hey Hey Ho Hum’ while A FLOCK OF SEAGULLS reformed briefly for an orchestral re-run of their catalogue.

With the release of their second album ‘Kinetik’, EKKOES handed over THE HUMAN LEAGUE support baton to SHELTER who came up with their best body of work yet in the more introspective shades of ‘Soar’. That darker approach manifested itself on singer Mark Bebb’s side project FORM with Keith Trigwell of SPEAK & SPELL whose debut long player ‘defiance + entropy’ also came out in 2018.

Having been championed by RÖYSKSOPP, Wales’ MAN WITHOUT COUNTRY returned with ‘Infinity Mirror’ while riding on the well-deserved momentum from opening for OMD, Ireland’s TINY MAGNETIC PETS embarked on their first headlining tour.

Representing North of the border were Ryan Vail and HANNAH PEEL, but hailing from Scotland were WITCH OF THE VALE who proved to be one of the most interesting new acts of 2018 having supported ASSEMBLAGE 23 on their most recent UK visit. There was a good showing from UK acts in 2018 with RODNEY CROMWELL, ANI GLASS, THE FRIXION and FAKE TEAK all issuing some excellent synth tinged songs for public consumption.

NINA’s long awaited debut album ‘Sleepwalking’ was a fine hybrid of synthpop and the currently fashionable Synthwave aesthetic; her live double billing with Canadian synthpopsters PARALLELS was one of the hottest tickets of the year.

The sub-genre was indeed making waves and there were some very enjoyable artists coming out of it like GUNSHIP, Dana Jean Phoenix and Michael Oakley.

However, the endless AOR excesses, moonlight sax breaks and highly unimaginative band monikers using numbers between 80 to 89 affixed to an archaic technology reference, illustrated by yet another neon sunset, VCR grid and Lamborghini, were becoming tiresome.

As Synthwave cynics, ELECTRICITYCLUB.CO.UK’s touch paper was being lit big time! The whole point of the synthesizer’s role during the Second British Invasion of the US was to fight against the insipid overtures of AOR like TOTO, CHICAGO and JOURNEY, NOT to make music coated with its horrid stench as THE MIDNIGHT did in 2018 with their long player ‘Kids’.

But there was naivety within some quarters too; electronic music did not begin in 2011 with ‘Drive’, an above average film with a good if slightly over rated soundtrack. However, its cultural influence has led to a plethora of meandering tracks made by gamer boys which sounded like someone had forgotten to sing on them; perhaps they should have gone back to 1978 and listened to GIORGIO MORODER’s ‘Midnight Express Theme’ to find out how this type of instrumental music should be done?

Many of the newer artists influenced by Synth Britannia that ELECTRICITYCLUB.CO.UK has featured have sometimes been accused of being stuck in the past, but a fair number of Synthwave acts were really taking the soggy biscuit with their retro-obsession.

Rock band MUSE’s use of glowing artwork by Kyle Lambert of ‘Stranger Things’ fame on their eighth album ‘Simulation Theory’ sent sections of the Synthwave community into meltdown. There were cries that they had “stolen the aesthetics and concept” and how “it’s not relevant to their sound”!

But WHAM! had Peter Saville designed sleeves and never sounded like NEW ORDER or OMD, while electropop diva LA ROUX used a visual stylisation for ‘In For The Kill’ that has since been claimed by Synthwavers as their own, despite it being from 2009 when Ryan Gosling was peddling graveyard indie rock in DEAD MAN’S BONES 😉

This was one of the bigger ironies of 2018, especially as MUSE have always used synths! One of Matt Bellamy and co’s biggest musical inspirations is ULTRAVOX, indicating the trio probably have a better understanding of the fusion between the synthesizer, rock and classical music, as proven by the ‘Simulation Theory’ bookends ‘Algorithm’ and ‘The Void’, than any static laptop exponent with a Jan Hammer fixation.

It is interesting to note today how electronic music has split into so many factions, but there’s still the assumed generalisation that it is all one thing and that synthpop fans must also like Synthwave, Deep House, EDM, Industrial and those tedious beach chill-out remixes.

Back in the day and even now, some fans of THE HUMAN LEAGUE didn’t like OMD, DEPECHE MODE fans only liked DEPECHE MODE and rock fans had a token favourite electronic band. Out of all the acts from the Synth Britannia era, ELECTRICITYCLUB.CO.UK had very little time for THOMPSON TWINS despite their huge international success, but their leader Tom Bailey’s 2018 solo recorded return ‘Science Fiction’ was warmly received by many.

Just as COLDPLAY and SNOW PATROL fans don’t all embrace ELBOW, it is ok to have preferences and to say so. Not liking the music of an artist does not make you a bad person, but liking everything does not make you a better person either… in fact, it shows you probably have no discerning taste! In 2002, SOFT CELL warned of a ‘Monoculture’, and if there is no taste differentiation in art and music, it will spell the end of cultural enhancement.

Taste is always the key, but then not everyone who loves chocolate likes Hersheys… and with that analogy, ELECTRICITYCLUB.CO.UK bids farewell to 2018 and looks forward to a 2019 that includes the return of TEARS FOR FEARS and the first full live shows from Giorgio Moroder, plus new releases by VILE ELECTRODES, KITE, VILLA NAH, I AM SNOW ANGEL and LADYTRON.

ELECTRICITYCLUB.CO.UK Contributor Listings of 2018

PAUL BODDY

Best Album: MAN WITHOUT COUNTRY Infinity Mirror
Best Song: MAN WITHOUT COUNTRY Lafayette
Best Gig: TANGERINE DREAM at London Union Chapel
Best Video: THE SOFT MOON Give Something
Most Promising New Act: VOX LOW

IAN FERGUSON

Best Album: BLANCMANGE Wanderlust
Best Song: ELECTRO SPECTRE The Way You Love
Best Gig: OMD at Glasgow Kelvingrove Park
Best Video: NYXX Voodoo
Most Promising New Act: WITCH OF THE VALE

SIMON HELM

Best Album: DUBSTAR One
Best Song: PAGE Start (Poptronica Version)
Best Gig: DIE KRUPPS + FRONT LINE ASSEMBLY at O2 Academy Islington
Best Video: FIFI RONG Horizon
Most Promising New Act: ZANTi

CHI MING LAI

Best Album: EMIKA Falling In Love With Sadness
Best Song: FIAT LUX It’s You
Best Gig: SOFT CELL at London O2 Arena
Best Video: FAKE TEAK Bears Always Party The Exact Right Amount
Most Promising New Act: WITCH OF THE VALE

MONIKA IZABELA TRIGWELL

Best Album: GUNSHIP Dark All Day
Best Song: SHELTER Karma
Best Gig: IAMX at London Electric Ballroom
Best Video: JUNO REACTOR Let’s Turn On
Most Promising New Act: MECHA MAIKO

Text by Chi Ming Lai
8th December 2018

ROXI DRIVE Strangers Of The Night

22 October 2018 /

When is synthwave not synthwave? When it’s synthpop of course and much of the best synthwave is actually pop.

While a lot of synthwave appears to be just formless meandering instrumentals made by gamer boys with a Lamborghini fixation, the majority of the best exponents have been female and tune-based like NINA, MECHA MAIKO and Dana Jean Phoenix. Looking to join that roll of honour is Roxi Drive, a talented West London born singer / songwriter and actor with a crush on Ryan Gosling who confesses to “Living my Neon dreams one song at a time” and her debut album ‘Strangers Of The Night’ being “A collaboration of pure synth fusion”.

It imagines a world where Madonna Louise Ciccone and Pat Benatar get immersed in the wonders of the synthesizer and doesn’t forget the songs either. Opening number ‘Run All Night (Chase This Dream)’ pulses the night away like a maniac with a neon lit vocal, while the breathy ‘Falling’ recalls the synthpop of THE FRIXION with its various hooks and counter melodies.

The enjoyable ‘Walking Out Of Love’ borrows from the guilty pleasure of classic Italo disco complete with a Moroderesque vo-coda although whether the variable equalisation on the drums is deliberate or not, it makes for a highly frustrating listen. Production quality also blights ‘Call Me Tomorrow?’ which is a delightful ditty that would have sounded even better with a more sympathetic widescreen mix.

The ‘Strangers Of The Night’ titled song verges into AOR like much of the current crop of synthwave and doesn’t work, but much better is the more synthetically charged pop of ‘All Night Long’.

The energetic new wave of ‘Synthicide’ sees a pacier electronic take on ‘Words’ by MISSING PERSONS and might have made it into a John Hughes film if it had been released in 1985, but as it’s a Stacey Q cover, maybe that’s why! Meanwhile ‘See It In Your Eyes’ interludes with a funkier vibe to contrast the album.

‘Behind The Mask’ takes proceedings to a moodier level in a manner not dissimilar to KIRLIAN CAMERA and would go down a treat with the Amphi crowd before ‘Stay With Me’, a marvellous ‘Drive’ influenced ballad with a touch of ELECTRIC YOUTH concludes ‘Strangers Of The Night’.

While a promising and varied record, some of its production is unable to fully exploit the potential of the material, with an inconsistent sound that lacks clarity. Meanwhile, some of the vocal effects are also perhaps too overbearing at times in an attempt to get things heard over the busy backing; seven producers of varying experiences appear to have been credited on the album which could account for this.

While much of this long player could have been more sonically accomplished, what ROXI DRIVE has proved with ‘Strangers Of The Night’ is she can write songs. Coupled with the right studio team, she could be up there in the future with the best of the current crop of independent synth-based artists.

‘Strangers Of The Night’ is available as a download album direct from: https://roxidrive.bandcamp.com/album/strangers-of-the-night

https://www.roxidrivemusic.com/

https://www.facebook.com/RoxiDrive/

https://twitter.com/RoxiDrive

https://www.instagram.com/roxidrive/

Text by Chi Ming Lai
22nd October 2018

DANA JEAN PHOENIX PixelDust

7 September 2018 /

With a few long players under her belt and with her music featured on various television series, here comes ‘PixelDust’, the latest album from Dana Jean Phoenix.

Self-described as a “Retro Synthwave Singer”, the Toronto based songstress knows how to turn heads with catchy vintage tunes, which are Atari games worthy. Having recently featured on the debut album of MECHA MAIKO with the fabulously dancey ‘Cold’, Dana Jean Phoenix isn’t a stranger to synthylicious ditties. Not concerned with ‘Losing The Connection’, Phoenix introduces her new album with a colourful bang of vintage guitar, good old synth and candied poppy melody. Back to the days of big hair, leg warmers, fashion jewellery and blue eye make-up it is!

The more demure, sweet love ballad ‘Far And Away’ is a nostalgic nod to the sun-setting pop songs of TIFFANY and ‘Red Line’ could have been blasted away in a shopping mall, while you and the girls pulled faces squeezed into the swivelling photo booth chair. Remember those uncomplicated teenage times, when you thought you could take on the entire world!? Dana Jean can!

Maybe you can go back to the neon lights ‘Only For One Night’, with stripped down synth lines, or have you ‘Lost Touch’ with the classic sound of Paula Abdul?

‘I’ll Rescue You’ is a girly ‘Boys Of Summer’ and ‘Funky Fly Free’ reminisces FIVE STAR’s achievements. After all, everything will ‘Be Alright’. A fabulous little track, perfect for carefree girly gatherings, pillow fights and pink Walkman headphones, what’s not to love? ‘Iron Fist’ speeds up the matters and could have easily been used as a secondary ‘Rocky’ track, while the title number calms the senses with a sweet, slightly melancholic feel, which has the qualities of a perfect chick flick soundtrack.

The closing ‘Written’ is the longest song on ‘Pixeldust’ and you wish it could go on for longer still. It’s a classic feel good number, embroiled in uncomplicated vintage romance.

Gentle, melodic and beautifully performed, you imagine Phoenix running in slow motion into the sunset after her lost love, or blushing while dreaming of her newly found amour. Whatever the story, you are transported back into that world we always come back to with sentimentality, the world when things were simpler and exciting.

And that’s the whole point to Dana Jean Phoenix’s music; to bring back that elusive feel of our youth, to relive first loves and first disappointments, “back when possibilities seemed endless because your world was colourfully enigmatic and very few doorways were shut to you. A time when you were in love, or just about to be.”

Feel good music doesn’t have to be too serious and too complicated, and ‘PixelDust’ is just that. For a summery, relaxed feel, go no further and immerse yourself in the simplicity of this record. You won’t be disappointed.

‘PixelDust’ is released as a download album by New EmPire Entertainment, available from https://danajeanphoenix.bandcamp.com/album/pixeldust

https://www.danajphoenix.com/

https://www.facebook.com/danajeanphoenix/

https://twitter.com/danajeanphoenix

https://www.instagram.com/danajeanphoenix/

Text by Monika Izabela Trigwell
7th September 2018

MECHA MAIKO Interview

17 April 2018 /

From the accomplished Canadian duo DEAD ASTRONAUTS, Hayley Stewart makes a swift departing move and goes off to create her own sweet music under the pseudonym of MECHA MAIKO.

Many acts debut in a clumsy, trial and error way but not her! The synthpop anime lady enters the world of electronica with one of the strongest firsts that the synth world has experienced in a while. The wonderful ‘Mad But Soft’ blows many out of the electronic “sea of sin”, and it’s all done with nonchalance and femininity without being too sickly sweet.

ELECTRICITYCLUB.CO.UK caught up with the Toronto based Geisha-esque creature to talk pop and what makes good girls write bad ass music…

Of course, you’re not a completely new artist as you did two albums in DEAD ASTRONAUTS with Jared Nickerson? How was that period?

Oh yeah, we did a number of releases! That was my first time ever being in a “real” band. I was eighteen when we started and it was a very exciting collaborative effort. We both were building things from scratch, and I was fortunate that Jared had a lot of freelance experience and a number of contacts in the design industry (he is a great illustrator / designer himself) so he already had a lot of the branding and imagery for the band sorted out already.

It was great to have someone to hold you accountable – you work harder to satisfy one another and establish an open dialogue of feedback and criticism. The early days of DEAD ASTRONAUTS was probably when I worked the hardest because I had to now take my production skills just as seriously (if not more) as my vocal skills, and be open to changing a song dozens of times over until it sat right for the both of us.

How and why were you inspired to do a project outside of DEAD ASTRONAUTS?

As I mentioned, DEAD ASTRONAUTS was established with a particular vibe, and the music ideas I brought forth were curated to fit into that established image. I would often start songs that I’d be super excited about, but just wouldn’t work for what DEAD ASTRONAUTS was – it would be weird to have a song with lyrics like in ‘Contract’ appear on an album like ‘Constellations’. It didn’t fit into the DEAD ASTRONAUTS universe which was much more painted in tragedy and often depicted futuristic cosmic landscapes.

I wanted to give myself a platform to put all these tracks without compromise – sometimes you just get an attachment to something that you can’t bring yourself to change. So, in that way, MECHA MAIKO started from a graveyard of songs that I wanted to resurrect, or that I otherwise stubbornly held onto for myself, ha ha!

What decided the musical direction of ‘Mad But Soft’?

The musical direction I took with the album almost felt haphazard. I’d like to say everything was conceptualized beforehand and realized as a full work of art, but I had so many songs on the go that I had to narrow them down and decide as I went. I wanted the album to hold onto many of the retro elements I enjoy using, but also experiment with sounds that don’t have a distinct tie to a particular genre. For better or worse, I tend to work on songs without visualizing their place in a finished piece, so it was more about putting them together in a way that felt bright and poppy but also a little bit dark and off-beat.

So “Turning Japanese” isn’t a bad thing after all…

Was it ever? – Wait. Don’t answer that! There has been a myriad of problems with Western culture fetishizing and appropriating the East.

As a white Canadian girl drawing on Japanese culture for my name and surrounding mythos, I try to do my research so I can feel comfortable when borrowing from it.

Have you always taken the inspiration from Japanese culture and been a “shinnichi”?

During my formative years, I was particularly impacted by Japanese culture, at first very naively through anime and video games. My favorite game was set in Tokyo, and after learning my childhood best friend was going to move there, I researched Japan like crazy and fell in love with the landscapes, traditions, music, and street fashion – it was unlike anything I saw growing up in the suburbs.

When I was around 11 or 12, I started taking sewing lessons because I was so inspired by the street fashion that I saw on japanesestreets.com and scans of Fruits magazine posted on Livejournal. When I was 13, I actually got the chance to go visit my friend there. It was a dream come true but it was also very sobering, where many of the assumptions I had were shattered.

On my first day, we walked through Akasaka and saw a big truck covered in posters and men with signs and megaphones yelling in protest outside a building. “What’s that all about?” I asked my friend; “They’re protesting the foreigners in the country” she replied, “They say anyone who isn’t Japanese should be kicked out. I see them there all the time” – suddenly I learned it was like any other place, wrought with its own set of political and social issues.

I would learn and experience many other things that would make me reassess my vision of Japan as a quirky utopia ready to take me in as one of their own. I felt guilty for coming, although I was barely able to speak enough Japanese to order something to eat.

After that, my obsession with Japan took a less fantastic approach. Lately I’ve been interested in learning more about its fashion and art history and how political and religious influence often had an explicit role in shaping it.

The album is feminine but marvellously strong…

I appreciate that. I’ve noticed lately that I make my voice softer than it really is, to sing a little more quietly so that it sounds more intimate and airy, which usually reads as feminine, almost submissive. The lyrics – and some production elements – by contrast, are more assertive and rousing. Both guest vocal performances on the album, too, are set against very pleasing melodies but evoke a sort of “knowing” and self-assuredness.

The huge success of ‘Stranger Things’ and its soundtrack seems to have paved the way for looking retrospectively to the quintessential synth era…

Definitely. I think ‘Drive’ was a major gateway for large audiences into synthwave and ‘Stranger Things’ is very much the second wave, although it doesn’t really delve into pop in the same way, focusing more on the Carpenter-ian use of synths in film / TV scores, it does evoke that same feeling of “damn, why did we ever stop using this sound?” I was a big fan of SURVIVE’s ‘mnq026’ release so I’m happy that they landed such a great gig producing the score for ‘Stranger Things’.

A well-written pop song can make it anywhere, the album is full of those!

I’m happy you think so! I’ve noticed that small radio stations and DJs have been playing my tracks alongside a wide variety of other artists and genres that I have rarely been associated with, so it’s fascinating to see how it fits in amongst others’ musical palates. I’ve found there are plenty of metalheads and darksynth listeners that jam out to ‘Mad But Soft’ too.

‘Cold’ brings collaboration with yet another pop princess…

…Dana Jean Phoenix! She’s fantastic. A pop princess indeed, with her glowing crystal tiara and all. I had written the instrumental for ‘Cold’ and was struggling with vocal ideas, but didn’t want to have to get rid of the lead synth line. I sent it her way and she had sent back the most fully-fleshed out vocal idea I’d ever received from a fellow collaborator, with all the backing elements, every take perfectly cleaned up and labelled…

I was in awe. I remember thinking, “Damn, this woman’s a professional”. And she is! She’s been making music and performing for a long time and knows what’s what. She has an amazing ear for catchy hooks and leads, which is probably why she has producers approaching her left and right to work with her. I’m lucky to have had her on my debut release.

How does your writing begin?

Hooooo. Good question. Sometimes it’s something as simple as having a certain melody or string of words pop into my head that I have to write down and then elaborate on. Usually it’s something that flows out, rooted in an anxiety or emotion that I haven’t exactly spoken about, or that might be better off as a monologue rather than a discussion. Much of the time I’ll start with an instrumental idea, and the vocal accompaniment that happens is a sort of subconscious creation based on whatever I’ve been immersed in lately – whether it’s space, science, politics, or my own life, either explicit stories or internal observations. Making music for me is almost like keeping a diary.

Talking gear, are you a vintage kind of girl, or are soft synths your preferred medium?

I mainly rely on software to work on music. At one point I had to decide between spending money on photography equipment or music equipment and I chose the former, because that’s what I most desperately needed, and never really expected my musical endeavours to lead to anything substantial.

Owning vintage synths kind of seems like a status symbol, but I can’t deny that I would love to use them and feel more connected to the process of making music. That being said, it’s not something I really need for what I want to do, although I’m finding that having some more hardware would make live performances a bit easier. I do want to release something that is entirely recorded with the keyboard I started making music with, which I still have. It’s not even close to being a conventional synthesizer since it’s super preset-y and basic, but I love it.

What equipment did you use on ‘Mad But Soft’?

Everything was made in Logic Pro X. I used an Akai MPK-25 for the keys and a Blue Yeti USB Microphone to record. I used to stick strictly to soundbanks that were meant to simulate vintage sounds, but I played around a lot more with Logic’s own legacy synths this time. I loved messing around with Sculpture, which can make some incredibly rich and weird airy key and bell sounds.

The girl power in electronic music is going from strength to strength, thanks to the likes of your fellow Canadians GRIMES and PARALLELS, or Americans I AM SNOW ANGEL and ZOLA JESUS…

Yes! Women and femmes have always been making music, but it feels like now they have more autonomy in the process and are learning to shed their shells of self-imposed doubt (or maybe that’s just me, ha ha). I like to think that when people listen to music, they do so because the music is good, not because they’re seeking to support a particular gender.

It’s just a matter of getting distribution streams and promoters to follow that same model, and check biases they might not know they have. Women are often seen as nurturers, helping others onto the stage, but that doesn’t mean they don’t need a little encouragement to get up there sometimes, too.

Having the total control of the output must be very satisfying?

It is! It can feel like a burden sometimes too. There’s so many facets to music that I enjoy experimenting with that it can be overwhelming. The second I finish a song, I question whether it’s truly finished and let it sit for months at a time. I’m learning to employ more method to my madness, though, so that I can feel more comfortable with setting things free and moving on to the next thing.

So what music does MECHA MAIKO listen to on daily basis?

That answer is always changing. My dad gifted me his collection of COCTEAU TWINS CDs so that’s been playing a lot. As an aside, if you ever want to feel self-conscious about your singing, listen to Elizabeth Fraser’s voice. She can do more with her voice in thirty seconds of a song than I have in my entire musical career!

Lately I’ve been on a kick of BOY HARSHER, THE SOFT MOON, SEXTILE… all of them nod to the past but are doing some really inventive and badass things.

I’ve also been getting heavy into Italo-disco and find myself jamming out to LOUI$’s few releases. My boyfriend is an avid consumer of music so we’ll listen to a wide range of releases together. He helped me develop an appreciation for musicians I would never think to pick up on my own, like Bill Callahan and Angel Olson. ‘Space Echo’, a release from Analog Africa, has been my gateway into some amazing pop and dance acts that came out of African countries in the 70s, and I’ve been delving into other pop and surf-rock releases from the 60s and 70s around the world.

IAMX, ZOLA JESUS and many others in the genre enjoy their pieces being utilised for television, how would you feel about having one of your compositions used for that medium?

I’m not opposed to it at all. As long as I’m paid, that is. Growing up, I always either wanted to be a DJ or in charge of compiling soundtracks for film and television, so it would be extremely gratifying.

You’re planning live shows to showcase your debut. Are we to expect Japanese inspired outfits and a minimalistic stage set?

Just a couple show so far, yeah! I’m wary about going too heavy with the Japanese influence since that’s ultimately not what the music is about. I’d like to nod to it, though, and I have some ideas in mind as to how MECHA MAIKO will manifest herself over time. And you bet it will be minimal (at least to start with) – I haven’t got much money for sets and props, let alone much gear!

With such a strong first album, what are you planning next?

Now that I’ve been able to establish what my sound / methodology is somewhat, it’s time to set free some tracks I’ve been holding onto and get working on something a bit more conceptually cohesive. It’s crazy to think that what’s next still involves oldies / spillover from all this time. Still, I want to spend more time with my lyrics, and try writing in ways that are more based in storytelling than it is in first-person dialogue.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to MECHA MAIKO

‘Mad But Soft’ is released by New Retro Wave, available from as a purple vinyl LP and download from https://newretrowave.bandcamp.com/album/mad-but-soft

The companion remix album ‘Mad Soft Butt’ is also available as a download from https://mechamaiko.bandcamp.com/album/mad-soft-butt

https://www.mechamaiko.com/

https://www.facebook.com/mechamaiko/

https://twitter.com/mechamaiko

https://soundcloud.com/mecha-maiko

https://www.instagram.com/mechamaiko/

Text and Interview by Monika Izabela Trigwell
17th April 2018

MECHA MAIKO Mad But Soft

22 March 2018 /

From DEAD ASTRONAUTS, the lo-fi synth project of Jared Nickerson and Hayley Stewart, a new star is born.

With the name transcending Toronto based Stewart’s fascination with Japanese culture, cyber space and the love of vintage synthesis, MECHA MAIKO releases her debut album ‘Mad But Soft’.

The Geisha-like robot brings a much needed freshness and romance into the world of electronica, and she’s doing it with grace, sensuality and poise. Loaded with rhythmic tunes, ‘Mad But Soft’ ventures into the spheres of delicate femininity, girlishness and synthlicious electro pink, packaged in shiny wrapping and served with a big, glitter coated ribbon.

It’s not your naive, mindless, happy-go-lucky pop songs, however. With nonchalance, Stewart introduces the listener into her magical world of sound, as if the synth was born yesterday. From the title track, with its pulsating East meets West vibe, through the gems like ‘False Memories’, which could have been part of the ‘Stranger Things’ soundtrack, to the unselfishly grown-up ‘Electric Heat’ with its CHVRCHES similarities, Stewart proves she’s not only a capable songwriter but a slick vocalist too.

‘Cold Hard Ground’ opens the long player with a Grimes meets Zola Jesus sound far, far away in snow covered Japan, where they play with their manga inspired synth toys. The robot doesn’t stop there, as ‘Bike Night’ lets those filters open and the magic happen for the most perfect mechanical pop. ‘Tomodachi’ could have been a lost MADONNA tune, Stewart’s vocals resemble the pop princess’, as much as the voice layering and melody interplay.

Once the ‘Contract’ is signed, ‘Auto Fire’ steps in with endless arpeggios over heavily punctuated industrial pulses, smoothed by intricate delicacies of Stewart’s vocal. Before we ‘Fade To Black’, with its strikingly familiar tonality to MAJOR LAZER’s ‘Get Free’, Dana Jean Phoenix meets MECHA MAIKO on ‘Cold’; probably the most danceable synthwave track on the production. The song was partially inspired by WAVESHAPER’s ‘Radio Signal’ and Janet Jackson herself probably wouldn’t shy away if presented with this little gem.

Uncomplicated on the surface yet multi-layered, thought through and simply delicious, ‘Mad But Soft’ does exactly what it says on the tin. Easy listening synthpop, as if lifted out straight from the classic era, is flowing through its veins like mechanically instigated lava; the magma of amalgamation of electric melodies, capable synth and vocals with audible influences from Bjork, Madonna and Robin S. What a debut!

‘Mad But Soft’ is released by New Retro Wave, available as a purple vinyl LP and download from https://newretrowave.bandcamp.com/album/mad-but-soft

https://www.mechamaiko.com/

https://www.facebook.com/mechamaiko/

https://twitter.com/mechamaiko

https://soundcloud.com/mecha-maiko

https://www.instagram.com/mechamaiko/

Text by Monika Izabela Trigwell
22nd March 2018

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