Tag: Daybehavior (Page 2 of 3)

25 SVENSKA SYNTH SONGS

18 February 2017 /

Like Germany and the UK, Sweden has an established history in electronic music.

With a melodic tradition rooted in traditional Nordic folk music and the region’s long dark nights causing bouts of melancholy, the Swedes are more than well suited to stay indoors and further the art of synthpop. In addition, Clavia Digital Musical Instruments, founded in 1983 and based in Stockholm, have emerged as a world leader in modern virtual analogue subtractive synthesizers with its distinctive red Nord Lead series as well as its digital stage pianos.

The iconic Energy Rekords provided a platform for modern electronic music in the country while today, labels such as Progress Productions, Labrador and Wonderland have maintained their support for domestic talent. Meanwhile, COVENANT maintain an audience across the Atlantic for their resonant futurepop and ROBYN has become so much part of the mainstream that her songs are regularly murdered by reality TV talent show wannabes.

Probably the most influential act to come out of Sweden are THE KNIFE. Their influence internationally on countless acts such as GAZELLE TWIN, GRIMES, AUSTRA, THE HORN THE HUNT and BECKY BECKY to adopt darker colours and mess with the very fabric of sound, has held a flag for inventive artful experimentation.

As KITE lead the way with their upcoming second tour of the US, Swedish synthpop continues to impress with acts like TRAIN TO SPAIN, 047, PRESENCE OF MIND, SILENT WAVE, THE SOUND OF ARROWS and COMPUTE among those with the potential to breakout of their domestic scenes.

So what’s so special about Sweden then? Listed chronologically and then alphabetically from its UK perspective with a restriction of one song per moniker, here are 25 SVENSKA SYNTH SONGS…

LUSTANS LAKEJER Diamanter (1982)

With a shortened title, ‘Diamanter’ was a more synth driven re-recording of their second single. LUSTANS LAKEJER were labelled Sweden’s answer to DURAN DURAN and like the Birmingham combo, Johan Kinde and Co were heavily influenced by JAPAN. Their third album ‘En Plats I Solen’ was produced by Richard Barbieri with Mick Karn popping up with his sax on three of its tracks.

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

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

PAGE Dansande Man (1983)

Founded in 1980 by Eddie Bengtsson and Marina Schiptjenko, PAGE are often credited with bringing the more purer form of synthpop as pioneered by Vince Clarke to Sweden. Their debut single ‘Dansande Man’ was a frantically percussive excursion suitable for dancing to as the title suggested. Bengtsson and Schiptjenko were to become key figures on the Swedish music scene in many guises, as we shall see…

Originally released as a single via Eskimo, currently unavailable

https://www.facebook.com/PageElektroniskPop/

THE MOBILE HOMES Feeling Better (1989)

With their name inspired by a JAPAN song, THE MOBILE HOMES were another Swedish band adopting purer synthpop colours . For their second single ‘Feeling Better’, they signed to Sonet, a Scandinavian independent who coincidentally handled the early publishing of Martin Gore and Vince Clarke. Eschewing the quirkiness of PAGE, THE MOBILE HOMES reflected the more pessimistic side of life often associated with Sweden.

Available on download bundle ‘Feeling Better’ via Universal Music

http://www.themobilehomes.se/

ARMY OF LOVERS Obsession (1991)

An almost cartoonish trio originally comprising of Alexander Bard, Jean-Pierre Barda and La Camilla, ARMY OF LOVERS countered their outlandish visual presence with catchy electronic dance tunes influenced by the hippy musical ‘Hair’. While the epic ‘Crucify’ was the huge worldwide hit, the musically more subtle ‘Obsession’ offered a softer side while still maintaining the cinematic drama.

Available on the album ‘Massive Luxury Overdose’ via China Records

https://www.facebook.com/armyofloversofficial/

S.P.O.C.K Never Trust A Klingon (1992)

In parallel with PAGE, Eddie Bengtsson joined vocalist Alexander Hofman  to write and perform some ‘Star Trek’ themed songs for a friend’s Trekkie themed birthday party. . Originally called MR SPOCK, the band name was changed to an acronym for ‘Star Pilot On Channel K’ after threats of legal action from Paramount Studios. ‘Never Trust A Klingon’ is still their crowning moment, a genius combination of deadpan vocals, bubbling synthpop and samples from Captain James T Kirk.

Available on the album ‘Five Year Mission’ via Energy Rekords

http://www.subspace.se/spock/

ELEGANT MACHINERY Hard To Handle (1993)

Founded in 1988, ELEGANT MACHINERY were another act who preferred a purer synthpop stance; they even covered SPANDAU BALLET’s ‘To Cut A Long Story Short’ in the style of Vince Clarke for an excellent 1995 Energy Rekords tribute collection of the same name. Many consider ‘Hard To Handle’ their finest song, an excellent blend of dance friendly beats and blippy melodies.

Available on the album ‘Shattered Grounds’ via Energy Rekords

http://elegantmachinery.se/

COVENANT Bullet (2002)

Formed in 1986 in Helsingborg, the Eskil Simonsson fronted COVENANT managed to gain a footing in both synthpop and EBM camps, achieving great success in North America from touring the alternative electronic club network established following the stateside success of DEPECHE MODE. Still going strong, 2016 saw the release of their ninth long player ‘Blinding Dark’.

Available on the album ‘Northern Light’ via Metroplis Records

http://www.covenant.se/

THE KNIFE Pass This On (2003)

Sibling duo THE KNIFE are probably the acclaimed electronic act to emerge from Sweden. Their uncompromising approach has won them many plaudits. But there was a time when with their experimentation came a tune too. The wonderful ‘Pass This On’ took Karin Dreijer’s unsettling pitch shifted vocals and placed them over brother Olaf’s soundtrack of primitive string machine and uplifting steel drums. Things got much darker after this…

Available on the album ‘Deep Cuts’ via Braille Records

http://theknife.net/

ROBYN Who’s That Girl? (2005)

Tired of her label BMG trying to turn her into the Swedish Christina Aguilera, Robyn Carlsson began taking an interest in the electronic movement closer to home. Inspired by THE KNIF, she collaborated with them to produce what is now possibly the key song which transformed Robin Miriam Carlsson into the successful independently minded artist she is today.

Available on the album ‘Robyn’ via Konichiwa Records

http://robyn.com/

EMMON Rock D’Amour (2007)

Best known as a member of the cult Swedish indie band PARIS, singer and keyboardist Emma Nylén had aspirations to produce something that was more decisively electronic. Her first recordings immediately showcased a catchy dance friendly sound as exemplified by ‘Rock D’Amour’. Subsequent albums ‘Closet Wanderings’ and ‘Nomme’ have maintained the standard, although EMMON is currently on a career break to raise a family.

Available on the album ‘The Art & The Evil’ via Wonderland Records

https://www.facebook.com/Emmon-240551649322636/

SISTA MANNEN PÅ JORDEN Allt Är Klart (2007)

Eddie Bengstsson’s solo project, also referred to as SMPJ, saw him unafraid to mine his Synth Britannia influences. ‘Allt Är Klart’ was an ULTRAVOX tribute and effectively a Swedish vocal version of the instrumental B-side ‘Alles Klar’. The hard, staccato synth bassline was borrowed from the original, but the track was bolstered by some superb whirring synths in the tradition of Billy Currie’s adventures with the ARP Odyssey.

Available on the album ‘Tredje Våningen’ via Energy Rekords

http://www.moonbasealpha.space/

ASHBURY HEIGHTS Spiders (2008)

Combining dual male / female vocals with a danceable electro goth backdrop, Anders Hagström and Yasmine Uhlin achieved success in Germany as well as Sweden with ‘Spiders’. ASHBURY HEIGHTS came out of hiatus in 2015 with a new female vocalist Tea F Thimé and a new album ‘The Looking Glass Society’ after a settling a despite with their label Out Of Line.

Available on the EP ‘Morningstar In A Black Car’ via Out Of Line Records

https://www.facebook.com/ashbury.heights/

BWO Lay Your Love On Me (2008)

BODIES WITHOUT ORGANS or BWO saw PAGE’s Marina Schiptjenko teaming up Alexander Bard from ARMY OF LOVERS in a project that has probably come closest to exploiting the musicality of ABBA for the 21st Century. Fronted by the extremely handsome Martin Rolinski, the classic pop tradition of the original Super Swedes was more than obvious on the mightily bonkers ‘Lay Your Love On Me’ which they entered for Eurovision.

Available on the album ‘Pandemonium’ via Capitol Records

https://www.facebook.com/bodieswithoutorgans/

KLEERUP Longing For Lullabies (2008)

Producer Andreas Kleerup hit paydirt with ‘With Every Heartbeat’, a collaboration with Robyn. A marvellous self-titled album followed with ‘Longing For Lullabies’ featuring Neneh Cherry’s sister Titiyo being the tearful highlight. Despite being driven with raw mechanical beats, the simple vocal melody was simple, almost keyboard-like going up and down the ivory scale in the best tradition of OMD while Titiyo’s vocal range made it a bit Agnetha and Annifrid too!

Available on the album ‘Kleerup’ via EMI Records

https://www.facebook.com/kleerupmusic/

KARIN PARK Ashes (2009)

One established artist who made a volte face in the wake of THE KNIFE was Karin Park. It was on more her Robyn-esque third album ‘Ashes To Gold’ that she sowed the seeds of her current electronic template. The synthpop disco of ‘Ashes’ fused electronic counterpoints and a live bass guitar with an incessant groove while Miss Park provided her enticing vocal presence.

Available on the album ‘Ashes To Gold’ via Young Aspiring Professionals

https://www.facebook.com/karinpark/

NIKI & THE DOVE DJ, Ease My Mind (2010)

Another act formed under the spectre of THE KNIFE, Stockholm duo Malin Dahlström and Gustaf Karlöf released ‘Mother Protect’ as a free download to launch NIKI & THE DOVE. Then came ‘DJ, Ease My Mind’; shaped by a ritualistic percussive mantra and whirring sub-bass, Dahlström’s witchy mannerisms provided the surreal scenario of what the Dreijers might have sounded like if they had decided to enter Eurovision.

Available on the album ‘Instinct’ via Mercury Records

http://www.nikiandthedove.com/

DAYBEHAVIOR Silent Dawn (2011)

Having issued their first album ‘:Adored’ in 1996 and their second ‘Have You Ever Touched A Dream?’ in 2004, ‘Silent Dawn’ was a single released as part of DAYBEHAVIOR‘s much vaunted comeback. The song was an exploration in laid back filmic pop and breathy continental vocals that wouldn’t have sounded out of place in Italian art movie. Indeed their most recent single ‘Change’ was also released in an alternative Italian language version, naturally titled ‘Cambiare’.

Available on the album ‘Follow That Car!’ via Graplur

https://www.facebook.com/DayBehavior/

KITE Step Forward (2011)

KITE have been called “Sweden’s best kept pop-secret”; Nicklas Stenemo and Christian Berg have undoubtedly been producing some of the best electronic pop of the last few years. Only releasing EPs, things started to truly come together on their fourth release ‘IV’. From it, ‘Step Forward’ with its sharp percussive drama and pentatonic overtones was the undoubted highlight. More recently, the duo have been commissioned to provide a song for a new Steven Segal film.

Available on the EP ‘IV’ via Progress Productions

https://www.facebook.com/KiteHQ/

CLUB 8 Stop Taking My Time (2013)

With Karolina Komstedt’s dramatically assertive vocal and a bursting bassline from Johan Angergård, CLUB 8 showed in a crisp 180 seconds with ‘Stop Taking Time’ that a danceable electronic tune didn’t have to be a journey into death by four-to-the-floor. Formed in 1995 as a more conventional pop act, CLUB 8’s most recent album ‘Pleasure’ celebrated 20 years for the duo.

Available on the album ‘Above The City’ via Labrador Records

http://www.club-8.org/

MACHINISTA Molecules & Carbon (2014)

MACHINISTA are seasoned hands, John Lindqwister was part of CAT RAPES DOG while Richard Flow was in VISION TALK with the late Krister Petersson. Their mantra is produce synthpop with a rock’n’roll edge. Like THE CURE gone electronic, or ALPHAVILLE crossed with SUICIDE, ‘Molecules & Carbon’ is both catchy and danceable with some suitably rousing elements too.

Available on the album ‘Xenoglossy’ via Analogue Trash

http://www.machinistamusic.com/

IAMAMIWHOAMI Chasing Kites (2014)

First launched via a set of mysterious viral videos with alphanumeric code titles, IAMAMIWHOAMI helmed by vocalist Jonna Lee and producer Claes Björklund premiered a delightfully odd cinematic electronic sound. From the second album ‘Blue’, the rich Scandipop of ‘Chasing Kites’ sees Jonna Lee hitting those ABBA-esque high notes with ablomb before adopting a huskier register for the second half.

Available on the album ‘Blue’ via To Whom It May Concern

http://towhomitmayconcern.cc/creators/iamamiwhoami

JOHAN BAECKSTROM Synth Is Not Dead (2015)

A touching tribute to Messrs Clarke, Gore, Hütter and Schneider, JOHAN BAECKSTROM said “I guess I just wanted to reflect on the fact that there still IS a synthpop scene with some really great bands, both old and new. In another way, the song is sort of my ‘thank you’ to some of the artists that inspired me for several decades – some of them are mentioned in the lyrics, but far from all of course”.

Available on the EP ‘Come With Me’ via Progress Productions

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

TWICE A MAN High In The Clouds (2015)

Founded by Dan Söderqvist and Karl Gasleben, TWICE A MAN were the opposite to many Swedish acts in that they used synths and electronic effects for more sombre atmospheric soundscapes rather than performing outright pop. Still operating as a unit, their 2015 album ‘Presence’ featuring epic environmental message songs like ‘High In The Clouds’ showed their talents have not waned over the years and indeed have become more accessible.

Available on the album ‘Presence’ via Ad Inexplorata

http://www.twiceaman.com/

VANBOT Trooper (2015)

After her inconclusive self-titled debut album in 2011, VANBOT aka Ester Ideskog had a rethink and started venturing into artier climes with the dreamy and enigmatic ‘Trooper’. With layers of vocals and rushes of lush synth, it started a journey towards the otherworldly template of IAMAMIWHOAMI. Her icy journey continues on her next album ‘Siberia’ which was written and recorded on a 17 day trip aboard the Trans-Siberian Railway.

Available on the album ‘Perfect Storm’ via Lisch Recordings

http://www.vanbotmusic.com/

REIN I Don’t Get Anything But Sh*t From You (2016)

Feisty, ambitious and not to be messed with, REIN has certainly caused a stir with Europe’s male dominated EBM scene. A true Rebel Girl as suggested by one of the highlights from her self-titled debut 2016 EP, even within the inherent shouty nature of the genre and Joanna Reinikainen’s debut song ‘Can’t Handle Me’ effectively being a mission statement, things are ramped up to 11 on ‘I Don’t Get Anything But Sh*t From You’. She’s an artist to watch for sure…

Available on the single ‘I Don’t Get Anything but Shit from You’ via Playground

https://www.facebook.com/reinelectronic/

Text by Chi Ming Lai
18th February 2017, updated 3rd November 2018

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2015

9 December 2015 /

Loudness Contour Modifiers

In a far more productive year than 2014, many electronic music veterans returned to the fold in 2015 with their first new albums for many years. There were plenty of releases from independent acts too, with Nordic Europe being a particularly strong territory once again.

45 quality songs made the shortlist and were eventually whittled down to 30. So mention must be made of ALICE IN VIDEOLAND, ANALOG ANGEL, BEBORN BETON, BECKY BECKY, CAMOUFLAGE, CLUB 8, ELECTROGENIC, EURASIANEYES, ME THE TIGER, HANNAH PEEL and SIN COS TAN who all released recordings in 2015 that would have easily made the listing in less competitive years such as 2012 and 2014. Even DURAN DURAN’s disappointing ‘Paper Gods’ yielded one decent track in ‘Face For Today’, but one swallow doesn’t make a summer.

So the decision has been made; with a restriction of one song per artist moniker, this alphabetical list comprises tracks released in physical formats, or digitally as purchasable or free downloads during the calendar year. Here are ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2015…

A-HA She’s Humming A Tune

A-HA Cast In SteelHaving played what appeared to be their farewell concert at the Oslo Spektrum in December 2010, A-HA reunited in a relaxed manner that recalled their days as a fledgling band. On ‘She’s Humming A Tune’, there were hints of 1986’s ‘Scoundrel Days’ in a lower key with sweeping synths, bottle neck six string and live drums moulding the chilling soundscape with that exquisite Nordic allure. ‘Cast In Steel’ was the antithesis of the misguided EDM blow-out that DURAN DURAN attempted on ‘Paper Gods’

Available on the album ‘Cast In Steel’ via Universal Music

http://a-ha.com/

BLACK NAIL CABARET Satisfaction

Feeling gloomy? Then take heed of the advice from BLACK NAIL CABARET and “Don’t be sad! Don’t be whiney!” – this brooding slice of Gothtronica was the lead single from the Hungarian duo’s second album ‘Harry Me, Marry Me, Bury Me’. Laden with a delicious synth bassline like DEPECHE MODE reimagined for a Weimar Cabaret set piece and topped with eerie string machine, ‘Satisfaction’ was the duo’s best individual offering to date. The pair also made a worthy impression opening for CAMOUFLAGE.

Available on the album ‘Harry Me, Marry Me, Bury Me’ via Basic Unit Productions

http://www.blacknailcabaret.net/

BLANCMANGE Useless

From Neil Arthur’s first BLANCMANGE album without long time bandmate Stephen Luscombe, ‘Useless’ was a brilliant hybrid of BRIAN ENO circa ‘Here Come The Warm Jets’ with LCD SOUNDSYSTEM. “It’s about anyone who thinks they might be useless” said Arthur, “This song is about that whole idea that we’re all flawed and you’re ‘useless as you are’… there are just times when you think ‘f*cking hell, I couldn’t organise a p*ss up in a brewery’ or that whole thing about confidence”.

Available on the album ‘Semi Detached’ via Cherry Red Records

https://www.blancmange.co.uk

CAMOUFLAGE Count On Me

Although launch single ‘Shine’ indicated it was business as usual, as hinted at with the title, CAMOUFLAGE’s long awaited long player ‘Greyscale’ was their most mature artistic statement yet. The mellow and warm ‘Count On Me’ saw Marcus Meyn duet with Peter Heppner of WOLFSHEIM fame. The lush blend of vocals and atmospherics showcased two of Germany’s most highly regarded electronic acts at their best.

Available on the album ‘Greyscale’ via Bureau B

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

CHVRCHES Clearest Blue

CHVRCHES stuck to the synthpop template of their debut and delivered what LITTLE BOOTS, LA ROUX, and LADYHAWKE and HURTS all failed to do… a decent second album! The propulsive four-to-the-floor action of ‘Clearest Blue’ shows how far CHVRCHES developed. Although not unlike an amalgam of ‘Gun’ and ‘Science / Visions’, ‘Clearest Blue’ is even more accomplished, wonderfully held in a state of tension before WHACK, there’s a dynamic surprise that recalls the classic overtures of Vince Clarke.

Available on the album ‘Every Open Eye’ via Virgin Records

http://chvrch.es/

RODNEY CROMWELL Black Dog

RODNEY CROMWELL is Adam Cresswell, formally of ARTHUR & MARTHA. ‘Black Dog’ recalled the pulsing post-punk miserablism of SECTION 25 and was embellished some Hooky styled bass. Cresswell said: “It’s all broadly linked to experiences in my life over the last ten years; themes of love, loss, depression, redemption”. As with NEW ORDER’s ‘Temptation’, despite the inherent melancholy, there was light at the end of the tunnel that made ‘Black Dog’ a most joyous listening experience.

Available on the album ‘Age Of Anxiety’ via Happy Robots

http://www.happyrobots.co.uk/

DAYBEHAVIOR Cambiare

daybehavior-change-front-small-2000Utilising her Italian heritage, DAYBEHAVIOR’s lead singer Paulinda Crescentini gave a suitably alluring performance on ‘Cambiare’, the B-side of the Swedish trio’s single ‘Change’. Remixed to poptastic effect, the joyous yet melancholic tune took the best elements of Italo disco with an expression of sorrow and happiness that recalled imperial phase PET SHOP BOYS. With a catchy chorus and seductive topline, Linguaphone language lessons were never this much fun…

Available on the single ‘Change’ via Graplur

http://www.daybehavior.com

DESTIN FRAGILE Run Away

DESTIN FRAGILE Halfway To NowhereAn offshoot of Swedish EBM veterans SPETSNAZ, DESTIN FRAGILE are a very different animal with hints of CAMOUFLAGE and DEPECHE MODE in their sound. ‘Run Away’ opened their ‘Halfway To Nowhere’ opus, an album which some observers have hailed as one of the best of 2015. Featuring a fine vocal from Pontus Stålberg resembling MESH’s Mark Hockings, this is what modern synthpop should be like; pop music with synths and melody as well as dynamic synth solos.

Available on the album ‘Halfway To Nowhere’ via Dark Dimensions

https://www.facebook.com/destin.fragile.pop

EAST INDIA YOUTH Carousel

EAST INDIA YOUTH’s debut ‘Total Strife’ pointed towards William Doyle’s potential to pen sublime pop, and with the follow-up ‘Culture Of Volume’, this was more than realised. But the album’s centrepiece was ‘Carousel’. Imagine the start of OMD’s ‘Stanlow’ reworked during BRIAN ENO’s sessions for ‘Apollo: Soundtracks & Atmospheres’. With no percussive elements and over six minutes in length, Doyle gave a dramatic vocal performance resonating in beautifully crystalline melancholy.

Available on the album ‘Culture of Volume’ via XL Recordings

http://eastindiayouth.co.uk/

EMIKA My Heart Bleeds Melody

Berlin-based EMIKA is one of the dark horses of the UK electronic scene. A combination of her classical training, Czech heritage and use of modern technology has made for a provoking, brooding sound that has attained critical acclaim over the last few years. From her third album, helpfully named ‘Drei’, ‘My Heart Bleeds Melody’ was its highlight, a concoction of intricate pulsing layers and solemn detachment that provided a captivating listening experience.

Available on the album ‘Drei’ via Emika Records

http://emikarecords.com/

FFS P*ss Off

FFS proved collaborations do work. A total triumph, ‘P*ss Off’ was possibly the album’s most outstanding number. With the vibrancy of ‘Kimono My House’ and ‘Propaganda’ era SPARKS, there were plenty of jaunty ivories and camp vocal theatrics in the vein of classics like ‘Something For The Girl With Everything’ and ‘BC’. “It’s inexplicable” they all growled as the multi-track phrase of “HARMONISE” kicked in! A total joy, ‘P*ss Off’ was the ultimate two fingered art school pop anthem.

Available on the album ‘FFS’ via Domino Records

http://www.ffsmusic.com/

WOLFGANG FLÜR Cover Girl – The Ninjaneer Mix

One of the highlights in Herr Flür’s DJ sets has been The Ninjaneer Mix of ‘Cover Girl’, a swirling synthpop track that the former KRAFTWERK percussionist has described as ‘The Model MkII’. He said: “Her story goes on and unfortunately shows her going downhill. She had bad experiences with drugs, alcohol and other things so had to dance in night clubs for earning money at least. A true story, a bad life… that’s sometimes the way how super models are knitting their career”

Available on the album ‘Eloquence’ via Cherry Red Records

http://www.musiksoldat.de

JOHN GRANT featuring TRACEY THORN Disappointing

JOHN GRANT Grey Tickles, Black PressureJOHN GRANT’s adventure into a solemn electronic template on ‘Pale Green Ghosts’ not only won him a BRIT Award nomination too. Meanwhile his collaboration with HERCULES & LOVE AFFAIR showed he understood the disco as well. ‘Disappointing’ combined the two approaches and added some funk for an enjoyable Bowie meets YAZOO styled workout. In a song full of surprises, not only was there the presence of slap bass, but there was the dulcet tones of EVERYTHING BUT THE GIRL’s Tracey Thorn too.

Available on the album ‘Grey Tickles, Black Pressure’ via Bella Union

http://johngrantmusic.com

GWENNO Calon Peiriant

Gwenno_Y_DYDD_OLAFGWENNO’s Welsh and Cornish heritage has allowed her to develop a unique brand of lo-fi electronica. Her full-length Welsh language debut ‘Y Dydd Olaf’ came out on Peski Records in October 2014. Now reissued in 2015 by Heavenly Recordings, GWENNO has deservedly gained an increased profile for her music. With beautiful, traditionally derived melodies placed in a spacey yesterday’s tomorrow setting, the spacey ‘Calon Peiriant’ was one of the more immediate delights on offer from a wonderful album.

Available on the album ‘Y Dydd Olaf’ via Heavenly Recordings

http://www.gwenno.info/

IAMX Happiness

Depression despite apparent material success has been an ongoing lyrical theme for Chris Corner as IAMX. And with ‘Happiness’, his craving for a mind to be free of bad news, negative influences and jealousy was countered with his line of “Everywhere hypocrisy!” as pulsing arpeggios kicked in for the final third’s gentle but drama laden climax. Highly poignant in the current economic and political climate, Corner’s move from Berlin to Los Angeles certainly did his music no harm.

Available on the album ‘Metanoia’ via Caroline International

http://iamxmusic.com/

JEAN-MICHEL JARRE & VINCE CLARKE Automatic Parts 1 + 2

The French synth maestro’s first album for since ‘Teo & Tea’ in 2007 was an opus entitled ‘Electronica 1 – The Time Machine’ featuring collaborations with TANGERINE DREAM, LITTLE BOOTS and MASSIVE ATTACK among many. But the two part ‘Automatic’ with Vince Clarke was the highlight, taking in the best of the tune based elements of both artists while not letting one party dominate. VCJMJ was certainly a more artistically realised proposition than the polarising techno of VCMG!

Available on the album ‘Electronica 1: The Time Machine’ via Columbia Records

http://jeanmicheljarre.com/

KID KASIO Full Moon Blue

“Whether I release it in 2013 or 2016, it’s still going to sound like 1985!” said KID KASIO main man Nathan Cooper. A man whose is plainly honest about where his influences lie, his love of classic synthpop permeates throughout his work. Now imagine if DEPECHE MODE was fronted by Nik Kershaw instead of Dave Gahan? With ‘Full Moon Blue’, that musical fantasy became fully realised with a clever interpolation of ‘Two Minute Warning’, one of Alan Wilder’s songwriting contributions from ‘Construction Time Again’.

Available on the album ‘Sit & Wait’ via Kid Kasio

http://www.kidkasio.com

KITE Up For Life

Despite having been around since 2008, Swedish synth duo KITE have tended to be overlooked internationally. But Nicklas Stenemo and Christian Berg’s wonderfully exuberant array of sounds and rugged, majestic vocals deserve a much larger audience. Issuing only EPs and never albums, KITE’s most recent release ‘VI’ opened with the magnificent progressive electronic epic ‘Up For Life’. The passionate and sublime first half mutated into a beautifully surreal journey of VANGELIS-like proportions for the second.

Available on the EP ‘VI’ via Progress Productions

https://www.facebook.com/KiteHQ

MACHINISTA The Bombs

The syncopated electro disco feel of ‘The Bombs’, one of the highlights from MACHINISTA’s second album came almost by accident. Instrumentalist Richard Flow remembered: “Actually the first version of ‘The Bombs’ had a completely different rhythm in the drums. I actually did get stuck with this song and I wasn’t happy at all about the music. Once I did change the bass drum to a simple 4/4, I was back on track again. Most of the sounds from the original version I did keep, so perhaps a simple 4/4 bass drum mixed with the sounds for this original rhythm created this ‘disco’ feel…”

Available on the album ‘Garmonbozia’ via Analogue Trash Records

http://www.machinistamusic.com/

MARSHEAUX Monument

marsheaux_a_broken_frame_LPA worthy of re-assessment of DEPECHE MODE ‘A Broken Frame’ has been long overdue and MARSHEAUX have certainly given a number of its songs some interesting arrangements. Their version of ‘Monument’ borrowed its bassline from latter day DM B-side ‘Painkiller’. Combined with some wispily resigned vocals, it provided a tense soundtrack that could be seen as metaphoric commentary on the economic situation in Greece. It’s not often that cover versions are better than the originals, but this is one of them.

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

http://marsheaux.com/

METROLAND (We Need) Machines Without Romance

METROLAND’s second album ‘Triadic Ballet’ was a triumphant electronic celebration of the Bauhaus, art movement led by Walter Gropius. Gropius theorized about uniting art and technology and on the B-side of its launch single ‘Zeppelin’, METROLAND worked towards the 21st Century interpretation of that goal. Now imagine if GARY NUMAN had actually joined KRAFTWERK in 1979? Then the brilliantly uptempo ‘(We Need) Machines Without Romance’ would have surely been the result.

Available on the EP ‘Zeppelin’ via Alfa Matrix

http://www.metrolandmusic.com/

MURICIDAE Away

Studio legend John Fryer has been busy and the project that perhaps harks closest to THIS MORTAL COIL is MURICIDAE. Featuring the exquisite vocals of Louise Fraser, she and Fryer apparently “met on the beach searching for mermaids”… the sea is very much the visual theme for their music, with Fryer cultivating “sonic sculptures to musically embody the exquisite Muricidae Shell itself”. The tranquil beauty of ‘Away’ captures a shimmering soundscape that compliments Fraser’s plaintive lament.

Available on the EP ‘Tales From A Silent Ocean’ via Muricidae Music

https://www.facebook.com/muricidaemusic

NEW ORDER Plastic

After the guitar dominated proceedings of the last few NEW ORDER albums, Bernard Sumner promised a return to electronic music for the Mancunians’ first album of new material without estranged founder member and bassist Peter Hook. That was certainly delivered on with ‘Plastic’, a full-on throbbing seven minute electro number mixed by Richard X with blippy echoes of ‘Mr Disco’. Dealing with the issue of superficiality, it declares “this love is poison, but it’s like gold”… yes, beware of anything plastic and artificial!

Available on the album ‘Music Complete’ via Mute Artists

http://www.neworder.com/

KARIN PARK Stick To The Lie

In 2015, the Norge domiciled Swedish songstress’ KARIN PARK finally released her fifth album, the profanity laden fifth ‘Apocalypse Pop’. While less harsh in sound to some of the other tracks on the long player, ‘Stick To The Lie’ was no less angry. The most overtly synthpop track on the collection, this accessible yet emotive song was one of the highlights on a collection that affirmed KARIN PARK’s place in modern electronic pop.

Available on the album ‘Apocalypse Pop’ via State Of The Eye

http://www.karinpark.com/

PURITY RING Begin Again

With CHVRCHES having borrowed PURITY RING’s electro template and pushed it into the mainstream, the direction taken on the Edmonton duo’s sophomore album ‘Another Eternity’ was going to be watched with interest. Certainly it was more focussed than its predecessor ‘Shrines’. Still utilising glitch techniques, booming bass drops and Corin Roddick’s rattling drum machine programming, the album’s best song ‘Begin Again’ made the most of Megan James’ sweet and dreamy voice.

Available on the album ‘Another Eternity’ via 4AD Records

http://purityringthing.com/

SISTA MANNEN PÅ JORDEN All The City Lights

Sweden’s SISTA MANNEN PÅ JORDEN (translated as “The Last Man on Earth”) are led by Eddie Bengtsson, best known for his work with S.P.O.C.K and PAGE. The themes of space travel and Sci-Fi are regular lyrical gists and while all of SMPJ’s songs are voiced i Svenska, Bengtsson opened up his Vince Clarke influenced synthpop to the English language in 2015 with the ‘Translate’ EP. Brilliantly produced, ‘All The City Lights’ (a version of his 2014 single ‘Stadens Alla Ljus’) was its highly enjoyable opening gambit.

Available on the CD EP ‘Translate’ via SMPJ

http://www.moonbasealpha.space/

SUSANNE SUNDFØR Delirious

SUSANNE SUNDFØR and her acclaimed ‘Ten Love Songs’ album developed on the electronic focus of its predecessor ‘The Silicone Veil’. With an eerie, droning intro with echoes of THE WALKERS BROTHERS’ ‘The Electrician’, ‘Delirious’ thundered with some fierce electronics bolstered by dynamic orchestrations like THE KNIFE meeting DEPECHE MODE. It captured love as a reluctant battle of the emotions while our heroine announced with emotive resignation “I’m not the one holding the gun”.

Available on the album ‘Ten Love Songs’ via Sonnet Sound

http://susannesundfor.com/

TRAIN TO SPAIN Passion – Machinista Club mix

TRAIN TO SPAIN Keep On RunningTRAIN TO SPAIN’s developing brand of uptempo, energetic pop utilises classic synthesizer sounds in the vein of Vince Clarke coupled to a metronomic rhythm structure akin to the 1985 ‘Philip Oakey & Giorgio Moroder’ album. Coming over like LANA DEL REY fronting YAZOO, Wigeborg’s cooingly vulnerable vocals on ‘Passion’ let rip over a suitably complimentary electronic backbone from Rasmusson, while a superb remix by MACHINISTA added some beefy gothic disco goodness.

Available on the download single ‘Keep On Running’ via Sub Culture Records

http://www.traintospain.se/

TREGENZA The Partisan

Manchester based Ross Tregenza is an experienced hand having co-written ‘Diaries Of A Madman’ with Dave Formula and Steve Strange when he was a member of VISAGE II in 2007. He surprised electronic music audiences with a Spartan cover of ‘The Partisan’, a song made famous by LEONARD COHEN. While many may despair at the very mention of the droll Canadian, his work has strong parallels with many Gothic veined musical forms, especially with this harrowing tale of fighting for La Résistance.

Originally from the EP ‘Stolen Thunder’, alternate version available on the album ‘Into The Void’ via Tregenza Music

https://www.facebook.com/tregenzamusic

VILE ELECTRODES Captive In Symmetry

On VILE ELECTRODES’ mesmerising ‘Captive in Symmetry’, “Filmic” is indeed a very apt description with the booming synth bass motif possessing echoes of the ‘Twin Peaks’ theme tune ‘Falling’. As beautiful sequences, eerie strings and Anais Neon’s hauntingly alluring vocals take hold, it all comes over like a dreamboat collaboration between JULEE CRUISE and OMD that could easily be considered for use in the proposed revamp of the surreal North American drama.

Available on the EP ‘Captive In Symmetry’ via Vile Electrodes

http://www.vileelectrodesco.uk/

Text by Chi Ming Lai
9th December 2015

DAYBEHAVIOR Cambiare

1 August 2015 /

“So, what’s so special about Sweden then?” one clueless onlooker once asked ELECTRICITYCLUB.CO.UK… just use your ears mate!

That Svenske sense of melody and melancholy is second to none, running from ABBA right through to the present day with ROBYN, IAMAMIWHOAMI and KITE.

And those qualities come in abundance with DAYBEHAVIOR, a veteran trio who released their first album ‘:Adored’ back in 1996. A second long player ‘Have You Ever Touched A Dream?’ was issued in 2003, but the band went into hiatus until their return in 2012 with ‘Follow That Car!’, an album with quality songs such as ‘City Lights’, ‘Silent Dawn’ and ‘It’s A Game’.

And now with the shortest gap between albums in their history, Paulinda Crescentini, Carl Hammar and Tommy Arell have been preparing their fourth opus ‘Based on a true story’. As a precursor to the album, the happy synthpop of ‘Change’ was unleashed as single in May. But the single’s B-side ‘Cambiare’ has now been presented as a lyric video. Linguaphone was never this much fun 😉

An authentic Italian language version of ‘Change’ thanks to the heritage of Paulinda Crescentini, ‘Cambiare’ oozes with a special, seductive allure while attached to a more danceable electronic backbone. The elegiac yet joyous quality of a female fronted PET SHOP BOYS permeates throughout this wonderful slice of continental disco.

Describing their upcoming album, DAYBEHAVIOR say they “will keep all the thrills, all the chills and the beauty and the sorrow and happiness from the last album. Still keeping eyes on the sound of today, with one or two nods to the past”

The single ‘Change’ b/w ‘Cambiare’ is released as a download by Graplur, available via the usual digital outlets

http://www.daybehavior.com

https://www.facebook.com/DayBehavior

https://twitter.com/DaybehaviorBand

Text by Chi Ming Lai
1st August 2015

DAYBEHAVIOR Interview

11 November 2012 /

Photo by Conny Fornbäck

 

After a year’s delay, it is finally here – the comeback album of Swedish trio DAYBEHAVIOR, ‘Follow That Car!’.

The trio have not been exactly prolific even by today’s standards; their first long player ‘:Adored’ came out in 1996 while there were delays for its follow-up ‘Have You Ever Touched A Dream?’ which was finally released in 2003.

However after nearly 9 years, Paulinda Crescentini, Carl Hammar and Tommy Arell have made a full return. The three singles released last year were all very promising, but how did the rest of the record turn out? The answer is: simply brilliant. This is grown-up synthpop, with tons of atmosphere, incredibly stylish, yet sometimes a bit rough with arrangements that fit remarkably well with Paulinda Crecentini’s stunningly beautiful vocals.

Despite the intricate soundscapes, the overall sound is still both restrained and effective. Calm and faster songs succeed each other and even if the variation in sounds and rhythms is vast between the different songs, there is still a cohesive auditory theme through the album. All twelve songs are of high class and overall, this is certainly one of this year’s best albums – well produced, varied and beautiful top of the line music.

Carl Hammar and Paulinda Crecentini from DAYBEHAVIOR talked about the present and the future in Carl’s cozy home studio in Stockholm which actually has a genuine Jupiter 8…

Can you tell me about the band’s background for your new fans?

Carl: It started with me and third member, Tommy Arell. Each time we met, we only talked about synths and synth music. We also had a strong common interest in the early 80s synthpop. We were both a little sick of what we were doing at that point so we decided that we should do something together instead. We started to create a prototype of something and in our mind this was not something synthpop really. It was more like another type of music from the early 90s. But when we started sending out stuff to record companies, we soon became aware that it was still synthpop! *laughs*

It could not be avoided – it was always there in our subconscious, the kind of melodies and sounds we liked to use. Then we got hold of Paulinda, we were looking quite a while before we found her. Before that, we were a bit on the wrong track. But then when we heard Paulinda’s voice and felt that this was the piece that was missing from the music, her beautiful, beautiful, soft voice to the rather heavy music with lots of bass and a lot of beats.

Where did the name come from?

Carl: Yes, actually! That is stolen! *laughs*

One of our early songs was called ‘Daybehavior’. In the song, we have stolen a little thing BJÖRK did in ‘Human Behavior’; the chorus just goes up a semitone in one turn and then it goes down again. It’s a pretty weird chorus – quite unusual. Then there was something on MASSIVE ATTACK’s ‘Daydreaming’ which also inspired us so it was like: ‘Daybehavior’ – ‘Human Behavior’ – ‘Daydreaming’. But then we did an interview with the Swedish journalist Linda Skugge in ‘Expressen’ (a well known Swedish tabloid newspaper) before we were really a band…we were kind of forced to come up with a band name … “Let’s say we are called DAYBEHAVIOR – for now anyway” …

Paulinda: Yeah, right! *laughs*

Carl: Then we realized it was a bit too late to change it…

Had you been singing in any band before you joined this band?

Paulinda: Sort of, I had always wanted to sing. I actually did my own songs on a small synthesizer when I was about eight years old. I had been nagging and nagging at my parents to get me a synth for Christmas and finally I got one. I actually wrote English lyrics then as well, which I barely understood myself… I used the dictionary where I found words and sentences I liked, “that sounds good” *laughs*

Unfortunately, I deleted all that stuff, because I was ashamed of it when I became a teenager. “God, how embarrassing – let’s throw this stuff away”. It would have been a blast to have that material now! I did about ten songs with that little synth that I had plugged into a tape recorder. It was great! *laughs*

But I always wanted to sing in a band. In those days there was no internet, so I bought the Yellow Pages and there was a small ad: “seeking vocalist, influenced by…” and it was a little list of different influences. I remember that it was BJÖRK, MASSIVE ATTACK and maybe something a little more synthpop-esque. So I thought: “Oh, what the heck – I’ll go to that audition!” I was really nervous and I was awful! But I got given a little tape of songs and then we met a week later … I had sung some lyrics on it and then I was in!

What made you reunite?

Paulinda: It started with Tommy who had moved to Thailand by then. He began to email and it was very nostalgic; “My God, wasn’t it nice it was back then … shouldn’t we try to do some songs together again?” We had gone our separate ways, but when he wrote about things like that, you felt that; “God – yeah, it would be quite nice to do it again”. It also just happened that he would be moving back to Sweden for a period so we thought “great – we’ll do some songs”. So we started up DAYBEHAVIOR again.

Is there any long-term plan with this or is it just for one album and seeing what happens?

Paulinda: Nah, we want to make yet another album – absolutely. We feel that we want to continue with this. It has gone really well. We’ve had our internal battles, I can’t deny that and it’s a bit hard to work when Tommy is living sometimes here in Sweden and sometimes in Thailand. It has been a bit difficult logistically to get it all together, but it worked out fine in the end anyway .

The difference in the music business must be pretty big now compared to when you made your last album ‘Have You Ever Touched A Dream?’?

Paulinda: Oh, yes! Enormously; many things have happened.

What are the advantages and disadvantages?

Paulinda: The first question you get from people when you say you make music is: are you on Spotify? Spotify is big and will only get bigger.

Hopefully they will change the deal so that you get a little more money for it, but I do not think they will do that. So it’s a downside, the economy – there is no money in music anymore. You make music because it’s fun and hopefully don’t lose any money at least. The advantage is that the internet makes it easier to spread the music and have fans all over the world, which you may not have had otherwise …

Carl: Because it is easier to spread music, there is also the increase in competition. It is not as exclusive to receive an email with a song or some links to get a physical record in a package. So that is one drawback – anyone can do quite a large mass mailing.

In other words, there’s a risk of drowning in a large variety of garbage then?

Carl: Yeah … or maybe you are garbage yourself? *laughs*

No, but it is quite true. It’s not only good music that is so easy to distribute over the internet and what you said is a good point … then of course, you have the illegal download spread of course and very low paid listening services such as Spotify, LastFM and similar streams. It’s very good for users but for musicians, it’s not.

What have the reactions to the new songs been like?

Carl: Good! Very good…

…internationally, too?

Carl: Yeah, especially internationally. I do not even know if we had any feedback in Sweden …yes, we have!

But Sweden is small. It feels good that we have an international market and that we can reach really far. It’s great to get feedback from Argentina, Brazil, Italy, Japan etc. It’s sometimes odd places that you did not expect … it’s like you do not have a clue: how did they found out about it? But there is always a unique group of people who are true music lovers and they find things. Through them, you often get help to distribute it further too via their connections.

There is a lot of melancholy in your music – but of course beautiful melancholy … why is that?

Paulinda: Good question! All three of us are probably pretty nostalgic and like this melancholic feeling …

Carl: Yeah … and there is a lot of influence from movie scores as well. Both me and Tommy like film music and to make things atmospheric. People often say that our music feels like a movie and they see pictures in front of them while listening. It may have to do with the melancholy and harmonies you work with and the sound as well.

But even in the lyrics, for example  ‘Silent Dawn’…

Paulinda: Yes, I write pretty much sad lyrics – it’s almost as if there are only two modes – either/or. You often end up in that melancholy vibe when writing. It’s the emotions which are strongest – sadness or things you long for – it touches you. And then when Carl and Tommy send over a basic song sketch for me, then the feel of it influences the lyrics.

So you make music before lyrics, then?

Paulinda: Yes, that’s it.

Never vice versa?

Paulinda: No. It works fine like this. We are happy with it. Then I usually send over a sketch back to get feedback and then we send it back and forth. When we feel we have a good lyric, we usually start working on the sound.

What are your inspirations?

Paulinda: It can be anything. Tommy wrote a while back, “Oh my God, I just saw the movie ‘The Orphanage’ and sat there weeping to the theme song”…

Carl: …is that Morricone?

Paulinda: Yes, Tommy said: “I could not let go of the feeling from the movie, so I sat at the computer” and then he made a basic sketch of a song that he sent over. It was really beautiful! It had a lot of Ennio Morricone … bombastic … it will definitely be on the next album, I think! But otherwise, it is often both new and old music that inspires.

And there are all sorts of genres…

Carl: I just listen to one genre! Do you listen to something else?

Paulinda: Than what? Synthpop?

Carl: Yeah … made in 1981 … *laughter*

Paulinda: No, that’s what I don’t do … I mostly listen to new music.

Carl: Tommy doesn’t like music made after 1982! *laughs*

What about software versus hardware? Do you work mostly with the computer or do you use real instruments as well?

Carl: Shall we admit it? We are also lazy actually, unfortunately. We sometimes use recorded sounds from real analogue synthesizers. But it is so much easier and quicker to work with digital, so it’s of course what you do.

Are there plans for live gigs?

Paulinda: No, unfortunately. It seems unlikely. There is no time to practise.

ELECTRICITYCLUB.CO.UK gives is sincerest thanks to DAYBEHAVIOR

‘Follow That Car!’ is released on the Graplur label and available on CD from DAYBEHAVIOR’s website

http://www.daybehavior.com

https://www.facebook.com/DayBehavior/

Text and Interview by Johan Wejedal
11th November 2012

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2011

21 December 2011 /

So what did ELECTRICITYCLUB.CO.UK think was hot back in 2011?

It featured a day in March when THE HUMAN LEAGUE, DURAN DURAN and John Foxx all released new albums, while VILE ELECTRODES launched their debut EP. In a year when the synth pioneers were finally recognised for their valuable contribution to popular culture, here are our 30 favourite songs of 2011 presented in alphabetical order by artist…

AUSTRA Spellwork

Canadian trio AUSTRA deliver a stark, baroque form of electronica fuelled by sexual tension. Like a gothic opera which successfully blends light and darkness with fragility and power, Katie Stelmanis and friends borrow the tones of classic DEPECHE MODE and cross it with THE KNIFE for this, their most accessibly brilliant synthpop offering from their debut album. The B-side ‘Indentity’ is a worthy listen too.

Available on the CD ‘Feel It Break’ via Domino/Paper Bag Records

http://www.austramusic.com

TARA BUSCH Rocket Wife

Fresh from opening for John Foxx, Tara Busch released a charity EP for The Bob Moog Foundation. If you’ve ever wanted to hear that bizarre sonic other worldiness of GOLDFRAPP’s first album ‘Felt Mountain’ again, it’s right here on ‘Rocket Wife’. With hints of the eerie classic Star Trek theme, this is really does sound like THE CARPENTERS in outer space! Calling occupants of interplanetary craft, across the universe…

Available on the download EP ‘Rocket Wife’ via The Bob Moog Foundation

http://tarabusch.com/

DAYBEHAVIOR It’s A Game (MARSHEAUX Remix)

With wonderful riffs and an uplifting chorus, this is delicious electronic pop from the cult Swedish trio of Paulinda Crescentini, Tommy Arell and Carl Hammar. Remixed by Athens synth maidens MARSHEAUX, this has the best of both worlds and could easily be mistaken for Sophie and Marianthi. However, PaulindaCrescentini’s Italo Nordic charm gives ‘It’s A Game’ a wonderfully distinct and alluring Mediterranean flavour.

Available on the download EP ‘It’’s A Game’ via Graplur Records

http://www.daybehavior.com

BETH DITTO Do You Need Someone?

BETH DITTO would probably be the Alison Moyet of modern electro if she didn’t prefer the funky punk of her band GOSSIP. ‘Do You Need Someone?’ sees Ms Ditto’s powerful and passionate yearning adding soul to the sparkling electronic dance groove. With production from SIMIAN MOBILE DISCO, KRAFTWERK’s ‘Computer World’ tones towards the song’s coda are a marvellous touch. A future career as an alternative disco diva beckons.

Available on the CD EP ‘Beth Ditto’ via Deconstruction Records/Sony Music

http://www.gossipyouth.com

http://www.simianmobiledisco.co.ukk

THOMAS DOLBY Spice Train

While Dolby’s album return was largely organic with hints of bluegrass and Americana, its token synthpop offering was the wonderful ‘Spice Train’. Over its hypnotic, squelchy sequence and mechanised dance beat, it gets strangely humanised by a Mariachi horn section. With the kitchen sink and a host of exotic influences thrown in via Bollywood and the Middle East, ‘Spice Train’ does exactly what it says on the tin.

Available on the CD ‘A Map Of The Floating City’ via Lost Toy People.

http://www.thomasdolby.com

DURAN DURAN Being Followed

‘All You Need Is Now’ saw DURAN DURAN cyclically return to the funk-led syncopated pop of their first two albums. ‘Being Followed’ is a superb sequencer assisted disco number with a tingling metallic edge, touches of THE CURE’s ‘A Forest’ and Nick Rhodes’ vintage string machine capture the tension of post 9/11 paranoia. Simon Le Bon gives it his all and while he is technically one of the most chronic singers of his generation, he is unique AND untouchable…

Available on the CD ‘All You Need Is Now’ via Tape Modern

www.duranduran.com

LANA DEL REY Blue Jeans (NIKONN remix)

NIKONN’s brand new album ‘Instamatic’ is suitably Mediterranean so add that instrumentation to the voice of raspy New Yorker Lana Del Rey and the end result is a glorious sun-kissed dancefloor moment. Somehow, you end up feeling much happier after dancing to, what is essentially in its original form, a quite stark, heartfelt minor key ballad. Now officially sanctioned, the remix brought the former Lizzie Grant to an electronic pop audience.

Originally issued as a free download but currently unavailable.

http://www.lanadelrey.com

SOPHIE ELLIS-BEXTOR Synchronised

From her under rated album ‘Make A Scene’ which includes contributions from Richard X and Armand Van Buuren, the appropriately titled Synchronised is a synthpop tune with a distinct YAZOO flavour to it. All highly appropriate as she supported ERASURE during their forests tour this year. This superbly cements her electro kinship which has been apparent since ‘China Heart’ from her ‘Tripping The Light Fantastic’ in 2007.

Available on the CD ‘Make A Scene’ via Douglas Valentine Limited

www.sophieellisbextor.net

JOHN FOXX & THE MATHS Watching A Building On Fire

The best track on the ‘Interplay’ album is a co-written duet with Mira Aroyo of LADYTRON. ‘Watching A Building On Fire’, with its chattering drum machine and accessible Trans- European melodies, oozes a synthetic smokiness. Aroyo’s counterpoint is almost playfully feline although Foxx’s inherent dystopianism gives it his stamp, making this a second cousin of ‘Burning Car’. The Andy Gray remix is also a worthy acquisition.

Available on the CD ‘Interplay’ via Metamatic Records

http://blog.johnfoxxandthemaths.com/

www.metamatic.com

GAZELLE TWIN The Eternal

JOY DIVISION’s original on ‘Closer’ was one of the most fragile, funereal collages of beauty ever committed to vinyl but Elizabeth Walling has covered this cult classic and made it even more haunting! Replacing the piano motif with eerily chilling synth and holding it together within an echoing sonic cathedral, she pays due respect while adding her own understated operatic stylings… you should hear her version of ‘Louie Louie’!

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

www.gazelletwin.com

THE HUMAN LEAGUE Never Let Me Go

Susanne Sulley does her best LITTLE BOOTS impression with this opener to ‘Credo’, the long awaited comeback album from THE HUMAN LEAGUE. Sounding like ‘Crash’ gone right or CLIENT gone funky, it is also auto-tuned to the hilt as Da League go all contemporary with this marvellous slice of electronic pop. Let’s hope it’s not another ten years before there’s new material!

Available on the CD ‘Credo’ via Wall Of Sound

www.thehumanleague.co.uk

IAMAMIWHOAMI Clump

‘Clump’ could be the sound of the drums on OMD’s ‘History Of Modern Part 1’ but it’s actually this kooky little number by IAMAMIWHOAMI aka Jonna Lee. A synthetically charged amalgam with vintage sounds and even a toy piano thrown in, this is a bit brighter than some her contemporaries if still delightfully odd and mysterious. It’s musically more Bjork than FEVER RAY although she does share the same management with the latter.

Available on the download single ‘Clump’ via iTunes and Amazon

http://www.facebook.com/pages/iamamiwhoami/270417754335

IAMX Ghosts Of Utopia

IAMX have captured an electro Gothic aesthetic that combines the theatrics of Weimar Cabaret with themes of sex, alienation and dependency. Despite the lyrical and aural fervor, Corner’s songs are strongly melodic with an accessible grandeur. The superb lead single ‘Ghosts Of Utopia’ from new album ‘Volatile Times’ has instant appeal with its exhilarating mechanical drive and electrickery. His scream of “this is psychosis” is wholly believable! Dance in the dark!

Available on the CD ‘Volatile Times’ via Republic of Music/BMG

http://iamxmusic.com/

LADYTRON Mirage

Flautist textures dominate the more sedate pace of ‘Mirage’ almost as a reaction to the loudness war of previous album ‘Velocifero’. Helen Marnie’s voice beautifully suits the synthetic atmospherics while the widescreen, spacious mix compliments a catchy tune that has hints of SIOUXSIE & THE BANSHEES. Although confusing some of their fans, given room to explore, ‘Gravity The Seducer’ is that under rated album which will be hailed as a classic in years to come.

Available on the CD ‘Gravity The Seducer’ via Nettwerk Productions

http://www.ladytron.com

MAISON VAGUE Synthpop’s Alive

Living in a dream since 1983 and as a homage to ‘The Pleasure Principle’, MAISON VAGUE mainman Clark Stiefel responded musically to a YouTube video entitled ‘Synthpop Is Dead’. The opening salvo is brilliant and the lyric of “Everyone’s entitled to opinion, you have yours and well I have mine” hits home. But it’s the retort of “And though it seems that our opinions differ, you’ll agree in time!” that says it all as the sound of PLACEBO gone electro. This battlecry has heart, soul and humour.

Available on the download album ‘Synthpop’s Alive’ via Amazon

http://www.maisonvague.com

MIRRORS Secrets

Closing MIRRORS’ outstanding ‘Lights & Offerings’ long player, ‘Secrets’ shifting phat bass riff across two octaves is pure Kling Klang, driven by an intense percussive march. An epic at over ten minutes in length and split into three movements, the ambient interlude of the second section consists of an aural sculpture that plays with the mind. It then suddenly reprises with a piercing military tattoo for its finale with unsettling voices for some added claustrophobic edge.

Available on the CD ‘Lights & Offerings’ via Skint Entertainment

https://www.facebook.com/theworldofmirrors/

MOBY Be The One

Yes, Moby has settled into a formula but he does it well. One of the more immediate tracks from the excellent independently released ‘Destroyed’ album, ‘Be The One’ is full of rich layered synth strings with moody chordial sweeps over a motorik beat and textured vocoder. Despite the simplistic robotic couplet “I was the hell that you needed – I was the one when you needed love”, it strangely exudes warmth and emotion.

Available on the CD ‘Destroyed’ via Little Idiot Records

http://www.moby.com

NIGHTLIFE On The Run

From their second EP Radio, with Caroline Myrick’s soft vocals attached to Darin Rajabian’s classic electro disco inspired backing, ‘On The Run’ could be described as Ellie Goulding gone right and is free of folkisms. : “I want back the soft quiet days of ever, when there was lemonade and sand, and rainy screen doors and sad movies; when the minutes were no one else’s but ours”.

Available on the download EP ‘Radio’ via their website

http://nightlifepop.com/

GARY NUMAN The Fall

Anthemic gothic rock is what the former Gary Webb deals in these days but ‘The Fall’ is a lot less heavier and one-dimensional than the offerings on previous album ‘Jagged’. Co-written and co-produced by Ade Fenton as an interim project when work on the ‘Splinter’ album was put on hold, with a fair smattering of gritty synths, this achieves a much better sonic balance and Gary Numan’s most accessible number in years.

Available on the CD ‘Dead Son Rising’ via Mortal Records

https://garynuman.com/

THE OPIATES Anatomy Of A Plastic Girl

THE OPIATES are former ELECTRIBE 101 chanteuse Billie Ray Martin and Norwegian DJ and producer Robert Solheim. They have been dubbed as The Carpenters of Electro. Several years in the making, the debut album contained ‘Anatomy Of A Plastic Girl’, a fine avant pop structure that told the tale of a young wannabe actress in Los Angeles who reflects on the facial surgery that has left her scarred…

Available on the CD ‘Hollywood Under The Knife’ via Disco Activisto Records

https://www.facebook.com/theopiates

QUEEN OF HEARTS Spanish Sahara

QUEEN OF HEARTS is Liz Morphew, formally of RED BLOODED WOMEN; this mysterious young royal with her assorted headgear and couture is modern electropop’s own Queen Amidala. From a galaxy far, far away and light years ahead of the poptastic competition, this moody, pulsing cover of indie rockers THE FOALS is transformed by a hypnotism textured with spacious synths to give our Queenie room for some sexy breathiness.

Available on the download EP ‘The Arrival’

www.iamqueenofhearts.com

SECTION 25 Colour, Movement, Sex & Violence

Best known for ‘Looking From A Hilltop’ in 1984, the song’s husband and wife vocalists Larry Cassidy and Jenny Ross have sadly since passed away. So it was highly appropriate that for SECTION 25’s recorded return, fronting the former punks would be Larry and Jenny’s daughter Bethany. She does a fine job with this danceable synth led ditty which captures that classic hedonistic Manchester vibe that recalls THE OTHER TWO’s ‘Tasty Fish’.

Available on the download EP ‘Invicta’ via Fac 51 The Hacienda

www.section25.com

SOFT METALS Eyes Closed

SOFT METALS are a newish electro duo comprising Patricia Hall and Ian Hicks. Now resident in Los Angeles, they have an accessibly minimal sound with Hall’s pretty vocals being a particular delight and reminiscent of Dot Allison’s flirtatious aura. ‘Eyes Closed’ is probably the highlight from their very promising self-titled debut album, elements of ORBITAL creeping into the danceable bleep fest.

Available on the CD ‘Soft Metals’ via Captured Tracks

www.facebook.com/softmetals

THE SOUND OF ARROWS Longest Ever Dream

Stefan Storm and Oskar Gullstrand hail from Gavle in Sweden. Both filmic and musical elements are important factors in THE SOUND OF ARROWS. Produced by Richard X and featuring a sweet guest vocal from Sarah Nyberg Pergament aka action biker, the choral patches and the symphonic templates are just so reminiscent of OMD. Coupled to some fantastically optimistic ambition, ‘Longest Ever Dream’ is a panoramic joy!

Available on the CD ‘Voyage’ via Skies Above

www.thesoundofarrows.com

TENEK What Do You Want?

Featuring mournful violin by Chris Payne from The Gary Numan Experience, ‘What Do You Want?’ is the first TENEK track that could be described as possessing a degree of beauty. The Brtish duo’s more rousing anthemic style takes a breather here and although this has more in common with their other ballad track ‘The Art Of Evasion’, the subtlety and strings add a new sonic dimension to the developing TENEK sound.

Available on the CD ‘EP2’ via Toffeetones Records

www.tenek.info

TIGER BABY Landscapes

TIGER BABY are a Copehagen trio led by singer Pernille Pang with Benjamin Teglbjærg and Nikolaj Tarp Gregersen in synthetic support. They released their debut album ‘Noise Around Me’ in 2007. Stylistically, this has all the unmistakeable melodic sensibility that Scandinavian pop acts seem to naturally possess as pretty arpeggios and wispy vocals combine for some dream laden electro accompanied by a fabulous video.

Available on the CD ‘Open Windows Open Hills’ via Gunhero records

http://www.tigerbaby.dk

VILE ELECTRODES My Sanctuary

VILE ELECTRODES are a colourful beat combo who combine analogue synths with fetish fashion. Their sound could be described as THE SMITHS reincarnated as CLIENT but ‘My Sanctuary’, the closing track on their debut EP is a sweeping moody epic that recalls imperial phase OMD. Anais resigned melancholic vocal gives that ice maiden demeanour over glorious symphonic synth strings and deep sombre tones. It’s magnificence embroiled.

Available on the CD EP ‘Vile Electrodes’

www.facebook/vileelectrodes

WHITE LIES Strangers

They’re the 21st Century equivalent of THE TEARDOP EXPLODES but with no brass. WHITE LIES however are much more bombastic with synths carrying melodies and assorted effects. Driven by a sweeping theme and deep bass thud before leading to a sense of urgency in the verse, a thoroughly anthemic chorus doesn’t appear until halfway to increase tension. This is possibly what TX could have sounded like if Julian Cope hadn’t gone to live under a tortoise shell!

Available on the CD ‘Ritual’ via Fiction/Polydor Records

https://whitelies.com/

XENO & OAKLANDER The Staircase

Chugging arpeggios, clattering primitive drum machines and slightly unorthodox vocals, minimal duo XENO & OAKLANDER give a brilliantly vibrant offering of vintage futurism. ‘The Staircase’ is their most immediate offering yet. Based in Brooklyn, part of their authentic Europeanism comes from Liz Wendelbo’s wispy French / Norwegian charm. Writing with partner Sean McBride since 2004, they successfully supported JOHN FOXX & THE MATHS in 2011.

Available on the CD ‘Sets & Lights’ via Wierd Records

http://xenoandoaklander.com/

ZEBRA & SNAKE Empty Love Song

Those dark Nordic nights certainly have their effect as this cynical tune from this Finnish duo indicates. Comprising helpfully of two friends Tapio and Matti, ZEBRA & SNAKE fuse vintage electronics with a touch of ambient dexterity as an “artistic form of therapy”. ‘Empty Love Song’ is suitably bittersweet and sounds a bit like MGMT’s ‘Time To Pretend’ after six months in deep freeze! However, despite its lyrical stance, it possesses a grand anthemic quality.

Available as a free download from http://soundcloud.com/freeman-pr/zebra-snake-empty-love-song

www.zebraandsnake.com

Text by Chi Ming Lai
21st December 2011

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