Tag: Gina X (Page 1 of 2)

THE ELECTRONIC LEGACY OF 1979

1 January 2024 /

While 1979 saw a post-punk revolution with new wave and ska emerge as energetic expressions of youth with the likes of JOY DIVISION, XTC, THE SPECIALS and MADNESS, maturer acts with power pop sensibilities such as BLONDIE and THE POLICE dominated the UK charts.

But the synthesizer had become a new tool of creativity for those who weren’t interested in learning chords on a guitar and preferred to use one finger, thanks to its new found affordability with refined technology from Japan. While electronics had been present in disco, progressive rock and esoteric avant garde forms, following seminal records in 1978 such as ‘Warm Leatherette’ b/w ‘TVOD’ by THE NORMAL and ‘Being Boiled’ by THE HUMAN LEAGUE, a new DIY artpop form was developing that would eventually take on KRAFTWERK at their own game.

Among those fledgling electronic acts who released their debut singles in 1979 on independent labels were OMD with ‘Electricity’ on Factory Records and FAD GADGET with ‘Back To Nature’ on Mute Records. Meanwhile on another independent Rough Trade, CABARET VOLTAIRE achieved a wider breakthrough with ‘Nag Nag Nag’, the standalone single accompanying their first album ‘Mix-Up’.

Having experimented with synths on ‘Low’ released in 1977, David Bowie had gone to see THE HUMAN LEAGUE at The Nashville in late 1978 and hailed them as “the future of rock ‘n’ roll”. Alas it was TUBEWAY ARMY fronted by Gary Numan who beat THE HUMAN LEAGUE to the top of the UK singles charts in Summer 1979 with Are Friends Electric?’. However, just a few weeks earlier, SPARKS had taken the Giorgio Moroder produced ‘No1 Song In Heaven’ into the UK Top20. But however history is perceived, a revolution had begun that would lead to the dawn of “synthpop” in 1980.

Here are 20 albums which ELECTRICITYCLUB.CO.UK sees as contributing to the electronic legacy of 1979. They are listed in alphabetical order with a restriction of one album per artist moniker, meaning Gary Numan and Edgar Froese appear twice…

ASHRA Correlations

As ASHRA, Manuel Göttsching released what many consider to be his first ambient masterpiece ‘New Age Of Earth’. On 1978’s ‘Blackouts’, he expanded the line-up to include drumming synthesist Harald Grosskopf and guitarist Lutz Ulbrich which continued on ‘Correlations’. Despite being more rock-oriented, it featured sequenced electronics with ‘Club Cannibal’ almost entering Jean-Michel Jarre territory.

‘Correlations’ is still available via Spalax Music

https://www.electricityclub.co.uk/manuel-gottsching-1952-2022/

PETER BAUMANN Trans Harmonic Nights

Although he had released ‘Romance ‘76’ while still a member of TANGERINE DREAM, Peter Baumann’s first solo album after departing the band was something of an interim record before venturing into electronic pop with ‘Repeat Repeat’. Mostly shorter instrumental compositions using mysterious melodies and occasional vocoder textures, ‘Trans Harmonic Nights’ remains something of an underrated electronic gem.

‘Trans Harmonic Nights’ is still available via Cherry Red Records

https://www.cherryred.co.uk/product/trans-harmonic-nights-remastered-edition/

EDGAR FROESE Stuntman

With TANGERINE DREAM taking a misstep with ‘Cyclone’ and perhaps prompted by the success of Jean-Michel Jarre’s electronic symphonies, on his fifth solo album ‘Stuntman’, Edgar Froese was at his most accessible with strong synth melodies, particularly on the title track. Elsewhere, new ages resonances were starting to develop while on ‘Drunk Mozart In The Desert’, there was atmospherics coupled with a rhythmic bounce.

‘Stuntman’ is still available via Virgin Records

https://www.edgarfroese.de/

GINA X PERFORMANCE Nice Mover

Produced and co-written by Zeus B Held, the debut album by androgynous art history student Gina Kikoine featured an array of ARP and Moog synths to signal the birth of a new European Underground. Cult club favourite ‘No GDM’ was written in honour of the “great dark man” Quentin Crisp while other highlights included the detached vocoder assisted robotic soul of the title song and the feisty gender statement ‘Be A Boy’.

Available on the album ‘Nice Mover + Voyeur’ via Les Disques du Crepuscule

http://www.ltmrecordings.com/gina_x.html

GIORGIO E=MC²

With Giorgio Moroder acquiring Roland’s new System 700 and an MC8 Micro-composer to control it, ‘E=MC2’ was touted as the first “electronic live-to-digital” album. This allowed for an uptempo funkiness previously unheard on sequencer based music to come into play. With the electronically treated vocals and euphoric energy of the marvellous ‘What A Night’, the sound of DAFT PUNK was inadvertently being invented!

‘E=MC²’ is still available via Repertoire Records

https://www.giorgiomoroder.com/

STEVE HILLAGE Rainbow Dome Musick

As a member of GONG and solo artist, Steve Hillage had a love of German experimental music and ventured into ambient with long standing partner Miquette Giraudy. Recorded for the Rainbow Dome at the ‘Festival For Mind-Body-Spirit’ at London’s Olympia, these two lengthy Moog and ARP assisted tracks each had a beautifully spacey vibe to induce total relaxation with a colourful sound spectrum.

‘Rainbow Dome Musick’ is still available via Virgin Records

http://www.stevehillage.com/

THE HUMAN LEAGUE Reproduction

With a manifesto of “synthesizers and vocals only”, the debut album by THE HUMAN LEAGUE included ‘Empire State Human’, ‘Circus Of Death’, ‘Almost Medieval’, ‘Blind Youth’ and a stark cover of ‘You’ve Lost That Loving Feeling’. Produced by Colin Thurston, while ‘Reproduction’ was not a commercial success, Philip Oakey, Ian Craig Marsh and Martyn Ware gained valuable experience that would progress their careers.

‘Reproduction’ is still available via Virgin Records

https://www.electricityclub.co.uk/martyn-ware-the-reproduction-travelogue-interview/

JAPAN Quiet Life

Although considered a 1980 album, the third JAPAN long player was actually released late 1979 in Japan, Canada, Holland and Germany. Featuring the sequencer-driven title song as well as the rockier ‘Halloween’ and a cover of THE VELVET UNDERGROUND’s ‘All Tomorrow’s Parties’, despite Roxy rip-off accusations, it was a major artistic step forward as a quality timeless work embracing synths, muzak and orchestrations.

‘Quiet Life’ is still available via BMG

https://www.electricityclub.co.uk/rob-dean-the-quiet-life-interview/

GARY NUMAN The Pleasure Principle

Devoid of guitar but using a flesh-and-blood rhythm section, Gary Numan realised his dream of producing a new form, machine rock. Synths were fed through guitar effects pedals to add a more sinister metallic tone and while there was sombre isolation communicated on all the songs, there was a catchy melodic sensibility to songs such as ‘Cars’, ‘Metal’, ‘Films’, ‘Engineers’ and ‘M.E.’ which turned Numan into the first synthesizer pop star.

‘The Pleasure Principle’ is still available via Beggars Banquet

https://garynuman.com/

ROBERT RENTAL & THOMAS LEER The Bridge

Originally released on THROBBING GRISTLE’s Industrial Records, ‘The Bridge’ album saw Scottish duo Thomas Leer and Robert Rental trading vocal and instrumental duties using early affordable synths such as the EDP Wasp. Comprising of a side of five songs and a side with four ambient instrumentals, ‘Day Breaks, Night Heals’ and ‘Monochrome Days’ both showcased an avant pop sensibility. Robert Rental sadly passed away in 2000.

‘The Bridge’ is still available via Mute Artists

https://www.electricityclub.co.uk/story-of-thomas-leer-robert-rental/

ROEDELIUS Selbstportrait

Best known as a member of CLUSTER with the late Dieter Moebius and working with Brian Eno on two albums, ‘Selbstportrait’ was Hans-Joachim Roedelius’ third solo long player. This was a “self-portrait” reflecting the gentle introspective ambience of the record. Something of a sister record to the 1977’s marvellous ‘Sowiesoso’, it was more accessible than CLUSTER’s own structurally minimal ‘Grosses Wasser’ also issued in 1979.

‘Selbstportrait’ is still available via Bureau B

https://www.roedelius.com/

KLAUS SCHULZE Dune

After the ambitious double opus ‘X’ which also incorporated strings in a record comprising of “Six Musical Biographies” in honour of figures including philosopher Friedrich Nietzsche and ‘Dune’ author Frank Herbert, Klaus Schulze conceived an actual album called ‘Dune’. Something of a diversion, ‘Shadows of Ignorance’ featured the eccentric poetry of Arthur Brown while the experimental ambient title track made use of cello.

‘Dune’ is still available via Bureau B

https://klaus-schulze.com/

SIMPLE MINDS Real To Real Cacophony

Stronger than their debut LP ‘Life In A Day’, SIMPLE MINDS started experimenting with more electronics and a very European austere on its swift follow-up ‘Real To Real Cacophony’ with the title song presenting their take on KRAFTWERK’s ‘Radio-Activity’. Underground and pulsating through on ‘Changeling’, that breakthrough single and ‘Premonition’ really were a sign of things to come in their dark avant disco templates.

‘Real To Real Cacophony’ is still available via Virgin Records

https://www.simpleminds.com/

SPARKS No1 In Heaven

Following the inspirational success of ‘I Feel Love’, SPARKS were put in contact with its producer Giorgio Moroder who had aspirations to work with a band. The resultant album saw Russell Mael’s flamboyant falsetto fitting well with the pulsing electronic disco template. ‘The No1 Song In Heaven’ hit the UK Top 20 a few months before ‘Are Friends Electric?’ while the follow-up ‘Beat The Clock’ got into the Top 10.

‘No1 In Heaven’ is still available via Lil Beethoven Records

http://www.allsparks.com/

TANGERINE DREAM Force Majeure

Still feeling the void left by the departure of Pete Baumann, following the vocal experiment of ‘Cyclone’, Edgar Froese and Christopher Franke opted to retain drummer in Klaus Krüger. While there was also increased guitar and piano usage, the title song and ‘Thru Metamorphic Rocks’ utilised pulsing sequencer passages to signal the future Hollywood direction that TANGERINE DREAM would head in.

‘Force Majeure’ is still available via Virgin Records

https://www.tangerinedreammusic.com/

TELEX Looking For Saint Tropez

The ethos of Belgian trio TELEX was “making something really European, different from rock, without guitar”. ‘Looking For Saint Tropez’ contained ‘Moscow Diskow’ which took the Trans-Siberian Express to Moscow by adding a funkier groove. Also included were funereal robotic covers of ‘Rock Around The Clock’ which was a UK Top40 hit and Plastic Bertrand’s ‘Ça Plane Pour Moi’ as well as their deadpan debut single ‘Twist A Saint Tropez’.

‘Looking For Saint Tropez’ is still available via Mute Artists

https://www.facebook.com/ThisIsTelex

THROBBING GRISTLE 20 Jazz Funk Greats

The title and the group photo on Beachy Head were tongue-in-cheek statements but THROBBING GRISTLE were still deathly uncompromising as shown by ‘Persuasion’. However, there were glints of light with the glorious cascading instrumental ‘Walkabout’ and mutant disco lento of ‘Hot On The Heels Of Love’ as Cosey Fanni Tutti’s whispered vocals competed with synthetic whip-crack and drill noises!

‘20 Jazz Funk Greats’ is still available via Mute Artists

https://www.throbbing-gristle.com/

TUBEWAY ARMY Replicas

Whereas the TUBEWAY ARMY debut featured punk tunes with added synth, ‘Replicas’ would see the Philip K Dick inspired dystopian vision of Gary Numan paired with appropriate electronic sounds as the main melodic component on the now classic UK No1 ‘Are Friends Electric?’. But the earlier singles ‘Down In The Park’ and the lengthy instrumental ‘I Nearly Married A Human’ pointed to a future guitar-free follow-up.

‘Replicas’ is still available via Beggars Banquet

https://www.electricityclub.co.uk/beginners-guide-gary-numan/

VANGELIS China

Although VANGELIS had never been to China at the time the album was recorded, he had developed a passionate fascination for its people, culture and vast landscape, noting a connection between ethnic Greek and Chinese music. Using traditional elements alongside his synthesizers, the centrepieces were the majestic ‘Chung Kuo’ and the meditative pentatonic piece ‘The Tao Of Love’. ‘China’ remains an underrated record in his canon.

‘China’ is still available via Universal Music

https://elsew.com/

YELLOW MAGIC ORCHESTRA Solid State Survivor

The second and best YELLOW MAGIC ORCHESTRA album featured an embarrassment of riches.  It included the glorious Technopop of ‘Rydeen’, the mighty citypop of ‘Technopolis’, the moodier ‘Castalia’ and the Cossack romp of ‘Absolute Ego Dance’.  But it was the iconic ‘Behind The Mask’ originally composed for Seiko which was later covered by Greg Phillinganes, Eric Clapton and Michael Jackson.

‘Solid State Survivor’ is still available via Sony Music Direct

http://www.ymo.org/

Text by Chi Ming Lai
1 January 2024

MUSIC FOR NEW ROMANTICS

5 November 2022 /

The phenomenon of the New Romantics can be said to have begun in Autumn 1978 with the foundation of a “Bowie Night” by Steve Strange and Rusty Egan at Billy’s nightclub in London’s Soho.

The youth movement that emerged aimed to find something new and colourful to escape the oncoming drabness in The Winter Of Discontent. Like Edwardian dandies meeting the Weimar Cabaret with extras from ‘Barbarella’ in between, they did a strange swaying arms dance, so as to not mess up their theatrical bouffanted hair. But after a disagreement with the owners of Billy’s, the pair moved their venture to The Blitz Club in Holborn.

Despite names such as Futurists, The Blitz Kids and The Movement With No Name, it was the term “New Romantics” coined by producer Richard James Burgess that became the widely used press description for this flamboyant group of outsiders. It was to eventually stick on anything from synthpop, art rock and peacock punk to Latin grooves, jazz funk and cod reggae provided the artist wore make-up, zoot suits, frilly blouses, smocks, headbands or kilts. Parallel club scenes developed at The Rum Runner in Birmingham, Crocs in Rayleigh near Southend and The Warehouse in Leeds from which DURAN DURAN, DEPECHE MODE and SOFT CELL respectively emerged.

To celebrate this era in popular culture, Cherry Red Records release an eclectic boxed set entitled ‘Music For New Romantics’. But while it contains some fantastic music, the tracklisting is a confused affair, having been originally conceived around comings and goings of The Blitz Club. It was here that Steve Strange acted as doorman and fashion policeman, while Rusty Egan was its resident DJ providing the soundtrack for a scene which became the catalyst for several bands including SPANDAU BALLET, CULTURE CLUB and VISAGE as well as assorted fashion designers, visual artists and writers.

Everything was centred around fashion-obsessed and some would say self-obsessed individuals; while the story about turning away Mick Jagger is well documented, one of the ironies of Steve Strange’s gatekeeping antics was that he refused entry to Chris Payne, then a member of Gary Numan’s band in 1979; Strange was to have his biggest hit with a song that Payne co-wrote entitled ‘Fade To Grey’ while another refused entry that evening was Ced Sharpley who played the drums on it!

Contrary to legend, the playlists of the various New Romantic establishments did not comprise exclusively of electronic music as those types of tracks were comparatively scarce at the time. So international synthworks from the likes of KRAFTWERK, YELLOW MAGIC ORCHESTRA, SPARKS, SPACE and TELEX sat alongside soundtracks, punk, disco and relatable glam rock tunes by David Bowie, Brian Eno and Bryan Ferry.

Rusty Egan declined to be involved in the collection after initial discussions led to conceptual differences. In the absence of The Blitz Club’s resident DJ who is now planning his own curated collection, one of the regulars Chris Sullivan, who himself ran a similar but less electronically focussed night at Le Kilt in Soho, steps in to provide commentary while the set was put together by the team behind Cherry Red’s ‘Musik Music Musique’ synthpop series and ‘Electrical Language’ boxed set.

‘Music For New Romantics’ comes with three loosely themed discs with CD1 focussing on glam, art rock and early electronic disco while CD2 covers Synth Britannia and new wave. CD3 though is a hotch-potch of soul, funk and electro with SISTER SLEDGE and LIPPS INC being rather incongruous inclusions; with their hit songs being readily available on any ‘Night Fever’ type compilation, there were many more suitable alternatives that could have been considered.

But it is CD2 that most will revel in and the tracklist has no fault as a listening experience. Standards such as the eponymous song by VISAGE, SIMPLE MINDS ‘Changeling’, OMD’s ‘Electricity’, ‘Moskow Diskow’ from TELEX, THE NORMAL’s ‘Warm Leatherette’, JAPAN’s Giorgio Moroder produced ‘Life In Tokyo’, ‘Bostich’ by YELLO, ‘Being Boiled’ from THE HUMAN LEAGUE and THROBBING GRISTLE’s ‘Hot On The Heels Of Love’ are present and correct. But it was SPANDAU BALLET’s ‘To Cut A Long Story Short’ and LANDSCAPE’s ‘Einstein A-Go-Go’ that were to confirm that the New Romantics were able to hit the charts in their own right after Steve Strange’s cameo in Bowie’s ‘Ashes To Ashes’ video.

CD1 features scene heroes such as Iggy Pop, Lou Reed and Mick Ronson, but heroines come in the avant cabaret glamour of Nina Hagen with ‘TV-Glotzer’ and Grace Jones’ reinterpretation of Édith Piaf’s ‘La Vie En Rose’. The most welcome track on this disc though is RAH BAND’s ‘The Crunch’ which all but invented the sexy electro-Schaffel of GOLDFRAPP, while one obscure jewel is ‘The Ultimate Warlord’ by THE WARLORD. And when today’s synthwave fanboys go on and on ad nauseam about how influential the ‘Drive’ soundtrack is, then just throw ‘Chase’ by Giorgio Moroder from ‘Midnight Express’ at them!

Despite being a mess of styles, the highlights of CD3 are Marianne Faithfull’s terrorism commentary ‘Broken English’ and Gina X with the Quentin Crisp tribute ‘No GDM’ which both fit into the avant cabaret category. Although ‘M Factor’, the B-side of M’s ‘Pop Muzik’ was regularly played at The Blitz Club, ‘Everything’s Gone Green’ by NEW ORDER sticks out like a sore thumb… Peter Hook would likely scoff at being considered a New Romantic!

The move towards funk in the New Pop of late 1981 is reflected in ABC with ‘Tears Are Not Enough’ (full marks for using the CORRECT Steve Brown produced single version), HEAVEN 17’s ‘We Don’t Need This Fascist Groove Thang’ (in a rare radio version with the lyric “fascist god” changed to “cowboy god”) and TOM TOM CLUB’s ‘Genius Of Love’. But those who consider New Romantics to be discerning studious types into synth and new wave will find the likes of Coati Mundi and Don Armando extremely alienating; after all, it was THE HUMAN LEAGUE’s Phil Oakey who said to Smash Hits around this time “I hate all trends like all this Ze Stuff”! 

When the New Romantic magazine ‘New Sounds, New Styles’ launched as a monthly publication in Summer 1981 after a promising launch edition, its content was confused with one angry punter later exclaiming via letter: “You’re meant to be a Futurist mag so leave all this Latin and jazz funk sh*t out of it!” – with the embarrassing novelty party act MODERN ROMANCE also being lumped in with the New Romantics, it was obvious the rot had now set in. Tellingly within a year, ‘New Sounds, New Styles’ folded…

From 1982, ‘Club Country’ by ASSOCIATES which notably highlighted the observations of  Billy MacKenzie on what he saw as the posey vapid nature of The Blitz Club is a fitting inclusion. Meanwhile as the ‘Music For New Romantics’ essay writer, Chris Sullivan gets to include his own style over substance combo BLUE RONDO À LA TURK with ‘Klactoveesedstein’, a single that came in with a blank at No50 that same year!

Of course, Sullivan went on to establish Le Beat Route and The Wag Club because he loved salsa and was less than enthused about synthpop, highlighting that despite the New Romantics seeming to be a united voice of expression, like any movement, it had its factions. Not featuring in the set, it was another scene regular Marilyn who said on the recent ‘Blitzed’ Sky Arts documentary that “I hated the music, all that electronic crap” while Steve Strange imposed a ban on Gary Numan being played at The Blitz Club, thus prompting Mr Webb’s lines “These New Romantics are oh so boring” in the 1981’s ‘Moral’ and “I like romantics but I don’t like Steven” in 1982’s ‘War Songs’.

A range of key New Romantic godfathers are missing from Bowie to Eno although MOTT THE HOOPLE’s hit take on ‘All The Young Dudes’ makes up for the former while ROXY MUSIC’s ‘Do The Stand’ effectively covers off the latter. KRAFTWERK, YELLOW MAGIC ORCHESTRA and SPARKS are also absent and of the lesser known cult figures, Wolfgang Riechmann undoubtedly deserved inclusion, while New Romantic staples such as ‘Hiroshima Mon Amour’, ‘RERB’ and ‘Magic Fly’ are more preferable to the likes of ‘Funky Town’ or ‘Ai No Corrida’.

Although only a single disc, 2006’s ‘Only After Dark’ compiled by Nick Rhodes and John Taylor of DURAN DURAN based around the music played at The Rum Runner, managed to feature Bowie and Eno as well as YELLOW MAGIC ORCHESTRA and KRAFTWERK so did more with less. While ‘Music For New Romantics’ is flawed and will cause some head scratching, this set is a reminder of those more innocent aspirational times and a scene that DID actually play its part in changing the world.

The Blitz Club’s tenure was short and after vacating it, Steve Strange and Rusty Egan started Club For Heroes and then in 1982 came The Camden Palace; it was the UK’s first modern superclub; music and clubbing were never the same again, and it was not for the better. However, the New Romantics had made their mark.

An elitist movement that was exclusive at its core despite the protestations of some, one amusing modern day legacy of the New Romantics and the Blitz generation in particular is how some try to ride on the scene’s trenchcoat tails, despite the fact that even if they had been old enough to visit licenced premises back in 1980, they almost certainly would have not been allowed in, thanks to the door policy of the man born Stephen John Harrington.

Taylor Swift did a song in 2014 called ‘New Romantics’ and when you google “New Romantics” these days, it’s what often springs up at the top of the searches… but that’s another story 😉

‘Music For New Romantics’ is released by Cherry Red as a 3CD Clamshell Box Set on 25th November 2022

https://www.cherryred.co.uk/product/music-for-new-romantics-3cd-clamshell-box-set/

Text by Chi Ming Lai
5th November 2022

MUSIK MUSIC MUSIQUE 2.0 1981 | The Rise Of Synth Pop

12 October 2021 /

1981 is the year covered by the second instalment of Cherry Red’s ‘Musik Music Musique’ series.

1980 was something of a transition year for the synth as it knocked on the door of the mainstream charts but by 1981, it was more or less let in with welcome arms. From the same team behind the ‘Close To The Noise Floor’ compendiums and the most excellent ‘Electrical Language’ boxed set, ‘Musik Music Musique 2.0 1981 – The Rise Of Synth Pop’ presents rarities alongside hits and key album tracks from what many consider the best year in music and one that contributes the most to the legacy of electronic music in its wider acceptance and impact.

Featuring HEAVEN 17  with ‘(We Don’t Need This) Fascist Groove Thang’, OMD with ‘Souvenir’ and the eponymous single by VISAGE, these songs are iconic 1981 canon that need no further discussion. Meanwhile the longevity of magnificent album tracks such as ‘Frustration’ by SOFT CELL and ‘I Remember (Death In The Afternoon)’ by ULTRAVOX can be summed by the fact that they have featured in 21st Century live sets alongside their parent acts’ hits.

Although not quite as celebrated, ‘You Were There’ from pastoral second John Foxx long player ‘The Garden’ captures the move from stark JG Ballard imagery to something almost romantic. DEVO are represented by the LinnDrum driven ‘Through Being Cool’, the opener of the ‘New Traditionalists’ album which comes as a statement that the mainstream was their next target; the Akron quintet were one of the many acts signed by Virgin Records as the label focussed on a synth focussed takeover that ultimately shaped the sonic landscape of 1981.

Then there’s TEARS FOR FEARS’ promising debut ‘Suffer The Children’ in its original synthier single recording and The Blitz Club favourite ‘Bostich’ from quirky Swiss pioneers YELLO. Another Blitz staple ‘No GDM’ from GINA X PERFORMANCE gets included despite being of 1978 vintage due to its first UK single release in 1981. The use of synth came in all sorts of shapes and FASHIØN presented a funkier take with ‘Move Øn’ while the track’s producer Zeus B Held took a more typically offbeat kosmische approach on his own ‘Cowboy On The Beach’.

Pivotal releases by JAPAN with the ‘The Art Of Parties’ (here in the more metallic ‘Tin Drum’ album version) and A FLOCK OF SEAGULLS ‘(It’s Not Me) Talking’ highlight those bands’ then-potential for mainstream success. But in the battle of the New Romantic boy bands, the sitar tinged DURAN DURAN B-side ‘Khanada’ easily blows away the SPANDAU BALLET album track ‘Reformation’ in an ominous sign as to who would crack it biggest worldwide.

The great lost band of this era, B-MOVIE issued the first of several versions of ‘Nowhere Girl’ in December 1980 on Dead Good Records and its inclusion showcases the song’s promise which was then more fully realised on the 1982 Some Bizzare single produced by the late Steve Brown although sadly, this was still not a hit.

The best and most synth flavoured pop hits from the period’s feisty females like Kim Wilde and Toyah are appropriate inclusions, as is Hazel O’Connor’s largely forgotten SPARKS homage ‘(Cover Plus) We’re All Grown Up’. But the less said about racist novelty records such as ‘Japanese Boy’ by Aneka, the better… the actual nation of Japan though is correctly represented by their most notable electronic exponents YELLOW MAGIC ORCHESTRA with ‘Cue’ from ‘BGM’, the first release to feature the Roland TR808 Rhythm Composer.

With these type of boxed sets, it’s the less familiar tracks that are always the most interesting. As the best looking member of TANGERINE DREAM, Peter Baumann had a crack at the single charts with the catchy Robert Palmer produced ‘Repeat, Repeat’ while former Gary Numan backing band DRAMATIS are represented by ‘Lady DJ’ although its epic A side ‘Ex Luna Scientia’ would have equally merited inclusion. But BEASTS IN CAGES who later became HARD CORPS stand out with the stark dystopia of ‘Sandcastles’.

The one that “should-have-been-a-pop-hit” is the ABBA-esque ‘I Can’t Hold On’ by Natasha England and it’s a shame that her career is remembered for a lame opportunistic cover of ‘Iko Iko’ rather than this, but the delightful ‘Twelfth House’ demonstrates again how under-rated Tony Mansfield’s NEW MUSIK were, and this with a B-side!

The rather fraught ‘Wonderlust’ by THE FALLOUT CLUB captures the late Trevor Herion in fine form on a Thomas Dolby produced number with a dramatic Spaghetti Western flavour that is lushly sculpted with electronics. Over a more sedate rhythm box mantra, ‘Love Moves In Strange Ways’ from BLUE ZOO swirls with a not entirely dissimilar mood.

Mute Records founder Daniel Miller was breaking through with his productions for DEPECHE MODE in 1981, but representation on ‘Musik Music Musique 2.0’ comes via the colder austere of ‘Science Fiction’ by Alan Burnham. ‘West End’ by Thomas Leer adds some jazzy freeform synth soloing to the vocal free backdrop, while ‘Surface Tension’ from ANALYSIS is an appealing instrumental.

The strangely accessible weirdness of CHRIS & COSEY’s ‘This Is Me’, MYSTERY PLANE’s ‘Something To Prove’ and the gritty ‘Brix’ from PORTION CONTROL will delight those more into the leftfield, while AK-47’s ‘Stop! Dance!’, the work of Simon Leonard (later of I START COUNTING and KOMPUTER fame) is another DIY experiment in that aesthetic vein.

Some tracks are interesting but not essential like Richard Bone’s ‘Alien Girl’ which comes over like an amusing pub singer SILICON TEENS, Johnny Warman’s appealing robopop on ‘Will You Dance With Me?’ and the synth dressed New Wave of ‘Close-Up’ by THOSE FRENCH GIRLS. For something more typically artschool, there’s the timpani laden ‘Taboos’ by THE PASSAGE and SECOND LAYER’s screechy ‘In Bits’.

More surprising is Swedish songstress Virna Lindt with her ‘Young & Hip’ which oddly combines showtune theatrics with blippy synth and ska! The set ends rather fittingly with Cherry Red’s very own EYELESS IN GAZA with the abstract atmospherics of ‘The Eyes Of Beautiful Losers’ although they too would eventually produce their own rousing synthpop statement ‘Sunbursts In’ in 1984.

Outside of the music, the booklet is a bit disappointing with the photos of OMD, TEARS FOR FEARS, HEAVEN 17, B-MOVIE and a glam-bouffanted Kim Wilde all coming from the wrong eras. And while the liner notes provide helpful information on the lesser known acts, clangers such as stating Toyah’s ‘Thunder In The Mountains’ was from the album ‘The Changeling’ when it was a standalone 45, “GONG’s Mike Hewlett” and “memorable sleeve designs by Malcolm Garrett’s Altered IMaGes” do not help those who wish to discover the origins of those accumulated gems.

But these quibbles aside, overall ‘Musik Music Musique 2.0’ is a good collection, although with fewer rare jewels compared with the first 1980 volume which perhaps points to the fact that those who had the shine to breakthrough actually did… 40 years on though, many of those hit making acts (or variations of) are still performing live in some form.

Was 1981 the most important year in synth as far becoming ubiquitous in the mainstream and hitting the top of the charts internationally? With VISAGE’s ‘Fade To Grey’ becoming a West German No1 in Spring 1981 through to SOFT CELL taking the summer topspot in the UK and culminating in THE HUMAN LEAGUE eventually taking ‘Don’t You Want Me?’ to No1 in the US, the sound of synth had done its job. Setting the scene for 1982 and 1983, further editions of ‘Musik Music Musique’ are planned.

‘Musik Music Musique 2.0 1981 – The Rise Of Synth Pop’ is released by Cherry Red on 15th October 2021 as a 3CD boxed set

https://www.cherryred.co.uk/product/musik-music-musique-2-0-the-rise-of-synth-pop-3cd-clamshell-box/

Text by Chi Ming Lai
12th October 2021

DAS BEAT Identität EP

4 June 2021 /


A product of Berlin’s 2020 lockdown, DAS BEAT comprise of German theatre actress Eddie Rabenberger and Agor Kerby from the Canadian electronic act BLUE HAWAII.

Rabenberger’s résumé includes opera, acrobatics, ballet, fencing skills and stage combat among her skills and talents. Meanwhile Kerby moved from Montreal to Berlin in 2018, but despite this, BLUE HAWAII released their third album ‘Open Reduction Internal Fixation’ in 2019.

With songs sung in German and English, DAS BEAT are quirkily rhythmic with an eye on the unorthodox nature of performance art, propping up a mix of Neue Deutsche Welle, Italo disco and dreamy atmospherics as they seek “to blast both boredom and boundary”.

With Amanda Lear and Gina Kikoine as influences, the hypnotic electro-cabaret of ‘Bubble’ is incessant detached disco for the outsider, as Rabenberger expresses the emotions of dancing alone. Despite the intensity, like its two muses, the bilingual alto vocal and vocoder delivery is also strangely playful. Meanwhile the ‘Identität’ title song utilises a Moroder-esque throb with some unexpected flute flourishes and shouty Mädchen expression like MALARIA! doing ‘I Feel Love’!

Much more laid back and inspired by the Cretan princess in Greek mythology, ‘Ariadne’ uses a charming vintage drum box and minimal harmonic six string to apply a muzak vibe that allows Rabenberger’s strident vocals to shine with the message that following break-up can come strength.

The closing number ‘Jackie’ is the EP’s most conventional sounding offering, being more guitar focussed with a lively use of drums despite the overall tone of resignation that is reminiscent of Nico, although not so quite so Götterdämmerung. Despite the Austere Gothic, there is light creeping through from the synth and the flute.

Released on Arbutus Records, the Canadian independent that was the home to GRIMES before she hooked up with Elon Musk, ‘Identität’ is a fine debut EP from DAS BEAT. Based on this diverse showcase and when the world is allowed out to play again, if more music is forthcoming from Eddie Rabenberger and Agor Kerby, that would be most welcome.

The ‘Identität’ EP is released by Arbutus Records on 4th June 2021, available from https://dasbeatofficial.bandcamp.com/album/identita-t-ep

https://www.instagram.com/das.beat/

https://soundcloud.com/dasbeatofficial

https://arbutusrecords.com/

Text by Chi Ming Lai
4th June 2021

2020 END OF YEAR REVIEW

21 December 2020 /

“It’s such a strange day, in such a lonely way” sang NEW ORDER on ‘Truth’ in 1981.

The coronavirus crisis of 2020 put the entire live music industry into limbo as concerts were postponed and tours rescheduled.

The situation was affecting everyone with several musicians like Bernard Sumner, Andy McCluskey, John Taylor and Sarah Nixey publicly stating that they had contracted the virus. Even when all pupils returned to schools in the Autumn, there was a ban on indoor singing in English classrooms. It was an indication that out of all professional fields, the arts was going suffer the most.

To make up for the absence of live shows, online streamed events become popular. Two of the best live online gigs were by Swedish veterans LUSTANS LAKEJER from the KB in Malmö and Sinomatic techno-rockers STOLEN with Lockdown Live From Chengdu. Not strictly a lockdown show but available for all to view on SVT was a magnificent live presentation of KITE at the Royal Opera House in Stockholm recorded in late 2019 combining synthesizers, orchestra and choir, proving again why Nicklas Stenemo and Christian Berg are the best electronic duo in Europe.

Concluding his ‘Songs: From the Lemon Tree’ series, Bon Harris of NITZER EBB presented a wonderful set of four electonic cover versions including songs made famous by Joan Armatrading, Connie Francis and Diana Ross. Meanwhile among independent musicians, Dubliner CIRCUIT3 led the way with an innovative multi-camera effected approach to his home studio presentation and Karin My performed al fresco in a forest near Gothenburg.

Taking the initiative, ERASURE did a delightful virtual album launch party for their new album ‘The Neon’ on Facebook with Vince Clarke in New York and Andy Bell in London, talking about everything from shopping to classic synthpop tunes.

Demonstrating a possible new model for the future, Midge Ure launched his subscription based ‘Backstage Lockdown Club’ which included intimate live performances and specials guests like Glenn Gregory and Howard Jones.

Other streamed forms of entertainment came via podcasts and among the best was ‘The Album Years’ presented by Steven Wilson and Tim Bowness. Their knowledgeable and forthright views on selected years in music were both informative and amusing. It was interesting to note that at the end of the 1976 episode, the pair nominated ‘Oxygène’ by Jean-Michel Jarre as the most important album of that year while for 1979, it was ‘The Pleasure Principle’ by Gary Numan.

Many artists who had scheduled releases in 2020 went through with them, although in some cases, there were the inevitable delays to physical product. But a few notable acts couldn’t help but abuse the situation, notably a certain combo from Basildon.

There were already “quality control issues” with the lavish ‘MODE’ 18 CD boxed set, but there was uproar even among the most hardcore Devotees with the ‘Spirits In The Forest’ release. The cardboard packaging was reported to be flimsy and prone to dents, while there was continuity errors galore as Dave Gahan rather cluelessly and selfishly wore different coloured outfits over the two nights in Berlin that the live footage was filmed under the direction of Anton Corbijn.

As if that wasn’t bad enough, there was an Anton Corbijn official illustrated history of DEPECHE MODE entitled ‘DM AC’ in the form of a coffee table photo book published by Taschen which retailed at €750; even though it was signed by Messrs Gahan, Gore and Fletcher, the price tag was a mightily steep. The increasingly ironic words of “The grabbing hands grab all they can…” from ‘Everything Counts’ were not lost on people, who are people, after all!

But Andy Fletcher did provide the most amusing and spot-on quote of the year; during DEPECHE MODE’s acceptance speech into that dinosaur institution The Rock & Roll Hall Of Fame, when Dave Gahan remarked to his bandmates that “I dunno what the hell I would have been doing if I didn’t find music to be quite honest…”, the banana eating handclapper dryly retorted “YOU’D HAVE BEEN STILL STEALING CARS DAVE!”

There were lots of great albums released in 2020 and Berlin appeared to be at the creative centre of them.

There was ‘LP II’ from LINEA ASPERA who made a welcome return after eight years in hiatus and  the playful debut by ULTRAFLEX, a collaborative offering from Berlin-based Nordic artists SPECIAL-K and FARAO which was “an ode to exercise, loaded with sex metaphors badly disguised as sports descriptions” .

The DDR born Jennifer Touch told her story with ‘Behind The Wall’ and resident New Yorker DISCOVERY ZONE was on ‘Remote Control’, while Lithuania’s top pop singer Alanas Chosnau made ‘Children of Nature’, his first album in English with Mark Reeder, who himself has lived in the former walled city since 1978; their collected experiences from both sides of the Iron Curtain made for a great record with the political statement of ‘Heavy Rainfall’ being one of the best songs of 2020.

Synth-builder and artist Finlay Shakespeare presented the superb angst ridden long player ‘Solemnities’ with its opener ‘Occupation’ tackling the social injustice of unemployment. A most frightening future was captured in musical form by New York-resident Zachery Allan Starkey who saw his home become a ‘Fear City’, while WRANGLER got themselves into ‘A Situation’.

SPARKS discussed ‘The Existential Threat’ and ‘One For The Ages’ while pleading ‘Please Don’t F*ck Up My World’ on their eclectic 25th album ‘A Steady Drip, Drip, Drip’, just as NIGHT CLUB reflected what many were thinking on ‘Die Die Lullaby’ with ‘Miss Negativity’ looking to ‘Die In The Disco’ while riding the ‘Misery Go Round’.

ASSEMBLAGE 23 chose to ‘Mourn’ with one of its highlights ‘Confession’ illustrating what DEPECHE MODE could still be capable of, if they could still be bothered.

But it was not all doom and gloom musically in 2020. With the title ‘Pop Gossip’, INTERNATIONAL TEACHERS OF POP did not need to do much explaining about the ethos of their second album and drum ‘n’ synth girl GEORGIA was happily ‘Seeking Thrills’.

Veterans returned and 34 years after their debut ‘Windows’, WHITE DOOR teamed up with the comparative youngster Johan Baeckström for ‘The Great Awakening’, while CODE made a surprise return with their second album ‘Ghost Ship’ after an absence 25 years.

‘The Secret Lives’ of German duo Zeus B Held and Mani Neumeier illustrated that septuagenarians just want to have fun. Along with Gina Kikoine, Zeus B Held was also awarded with Der Holger Czukay Preis für Popmusik der Stadt Köln in recognition of their pioneering work as GINA X PERFORMANCE whose ‘No GDM’ was a staple at The Blitz Club in Rusty Egan’s DJ sets.

Incidentally, Rusty Egan announced that Zaine Griff would be joining him with Numan cohorts Chris Payne and David Brooks in a live presentation of VISAGE material, although the announced dates were postponed, pending rescheduling for 2021.

Swiss trailblazers YELLO were on ‘Point’ and continuing their occasional creative collaboration with Chinese songstress Fifi Rong, while one time YELLOW MAGIC ORCHESTRA collaborator Hideki Matsutake returned as LOGIC SYSTEM and released a new long player ‘Technasma’, his project’s first for 18 years.

It was four decades since John Foxx’s ‘Metamatic’ and Gary Numan’s ‘Telekon’, with the man born Gary Webb publishing ‘(R)evolution’, a new autobiography to supersede 1997’s ‘Praying To The Aliens’. Meanwhile, the former Dennis Leigh teamed up with former ULTRAVOX guitarist Robin Simon plus his regular Maths collaborators Benge and Hannah Peel for the blistering art rock statement of ‘Howl’ as well as finally issuing his book of short stories ‘The Quiet Man’.

2020 saw a lot of 40th anniversaries for a number of key albums including ‘Vienna’ by ULTRAVOX, ‘Travelogue’ by THE HUMAN LEAGUE and ‘Closer’ by JOY DIVISION.

Back in 1980, it was not unusual for bands to release two albums in a calendar year as OMD did with their self-titled debut and ‘Organisation’, or JAPAN did with ‘Quiet Life’ and ‘Gentlemen Take Polaroids’.

It appeared to be a tradition that BLANCMANGE were adopting as Neil Arthur delivered the acclaimed ‘Mindset’ and an enjoyable outtakes collection ‘Waiting Room (Volume 1)’.

PET SHOP BOYS and CERRONE proved they still liked to dance to disco because they don’t like rock, but the year’s biggest surprise came with THE SMASHING PUMPKINS whose single ‘Cyr’ crossed the templates of classic DEPECHE MODE with DURAN DURAN.

Interestingly, Gary Daly of CHINA CRISIS and Michael Rother of NEU! used sketches recorded many moons ago to inspire their 2020 solo creations, proving that if something is a good idea, it will still make sense years later. Veteran Tonmeister Gareth Jones released his debut solo album ‘ELECTROGENETIC’ having first come to prominence as the studio engineer on ‘Metamatic’ back in 1980, but Jah Wobble was as prolific as ever, issuing his ninth album in four years, as well as a run of download singles over lockdown.

ANI GLASS had her debut long player ‘Mirores’ shortlisted for Welsh Music Prize and OMD remixed her song ‘Ynys Araul’ along the way, while SARAH P. was ‘Plotting Revolutions’. NINA and a returning ANNIE vied to be the Queen Of Synthwave with their respective albums ‘Synthian’ and ‘Dark Hearts’, although Canadian synth songstress DANA JEAN PHOENIX presented her most complete and consistent body of work yet in ‘Megawave’, a joint album with POWERNERD.

RADIO WOLF & PARALLELS contributed to the soundtrack of the film ‘Proximity’ released on Lakeshore Records and from the same label, KID MOXIE made her first contribution to the movie world with the score to ‘Not To Be Unpleasant, But We Need To Have A Serious Talk’ that also featured a stark cover of ALPHAVILLE’s ‘Big In Japan’. Meanwhile gothwavers VANDAL MOON made their most electronic album yet in ‘Black Kiss’ and POLYCHROME got in on the kissing act too with their new single ‘Starts With A Kiss’.

It would be fair to say in recent times that the most interesting and best realised electronic pop has come from outside of the UK; the likes of TWICE A MAN explored the darker side of life, although TRAIN TO SPAIN used the dancefloor as their mode of expression, 808 DOT POP developed on the robopop of parent band METROLAND and ZIMBRU preferred disco art pop.

In Scandinavia, there was the welcome return of UNIFY SEPARATE (formally US) and HILTIPOP aka Magnus Johansson of ALISON who finally released some music in his own right; once he started, he didn’t stop with 9 releases and counting in 2020! APOPTYGMA BERZERK released ‘Nein Danke!’, their self-proclaimed return to “New Wave Synthpop” and out of that set-up sprang the very promising PISTON DAMP.

Within the PAGE camp, Eddie Bengtsson continued his Numan fixation on the ‘Under Mitt Skinn’ EP although his musical partner Marina Schiptjenko teamed up with LUSTANS LAKEJER bassist Julian Brandt to ride the Synth Riviera for a delightful second helping of their electro crooner concept cheekily titled ‘For Beautiful People Only’.

Over in Germany, U96 teamed up Wolfgang Flür while RENARD, the solo vehicle of Markus Reinhardt from WOLFSHEIM teamed with Marian Gold of ALPHAVILLE and Sarah Blackwood of DUBSTAR. DUBSTAR themselves released a striking corona crisis statement entitled ‘Hygiene Strip’ which saw reconfigured duo reunited with producer Stephen Hague. Meanwhile another poignant song on the topic ‘Small World’ came from SNS SENSATION, the new project by Sebastian Muravchik of HEARTBREAK. In lockdown, TINY MAGNETIC PETS recorded an entire album which they called ‘Blue Wave’.

Of course, 2020 was not full of joy, even without the pandemic, as the music world sadly lost Florian Schneider, Gabi Delgado-Lopez, Chris Huggett, Andrew Weatherall, Matthew Seligman, Dave Greenfield, Rupert Hine, Tom Wolgers, Harold Budd and Ennio Morricone.

An introspective tone was reflected the music of female fronted acts such as and ZANIAS, PURITY RING, WE ARE REPLICA, KALEIDA, LASTLINGS, NEW SPELL, WITCH OF THE VALE, REIN, BLACK NAIL CABARET, GLÜME, GEISTE THE FRIXION, FEMMEPOP and SCINTII. However, countering this, the optimism of RIDER, ROXI DRIVE and NEW RO presented a much brighter, hopeful take on life and the future.

ELECTRICITYCLUB.CO.UK celebrated 10 years as a platform and affirming the site’s intuition about synth talent in anticipation of them achieving greater things, SOFTWAVE opened for OMD on the Scandinavia leg of their ‘Souvenir’ tour. The Danish duo became the sixth act which the site had written about to have become part of a tradition that has included VILLA NAH, MIRRORS, VILE ELECTRODES, METROLAND and TINY MAGNETIC PETS.

On a more cheerful note, S.P.O.C.K beamed down to Slimelight in London before lockdown for their first British live performance in 17 years. Meanwhile on the same night, LAU NAU and VILE ELECTRODES did modular sets at Cecil Sharp House, the spiritual home of English traditional music.

At that event, ELECTRICITYCLUB.CO.UK took delight in curating a DJ set comprising of John Cage’s 4’33” in variations by DEPECHE MODE, GOLDFRAPP, ERASURE, NEW ORDER and THE NORMAL from Mute’s Stumm433 boxed set. This defiant act of silence even caused a curious Jonathan Barnbrook to raise an eyebrow, this from the man who designed the artwork with the white square on David Bowie’s ‘The Next Day’ 😉

The final live event that ELECTRICITYCLUB.CO.UK attended before the March lockdown was an informative lecture at Queen Mary University in London presented by noted cultural scholar Dr Uwe Schütte, in support of his book ‘KRAFTWERK Future Music From Germany’.

Also attending was Rusty Egan who held court at the reception afterwards by having a debate with another musician about the state of UK synth music. He then loudly beckoned ELECTRICITYCLUB.CO.UK over and mentioned how the site was only interested acts that scored “9 out of 10” before admitting that a number of acts he supported only scored “6 out of 10”, with his reasoning being that if acts aren’t supported, then there will be no synth acts existing at all. After a decade in existence, ELECTRICITYCLUB.CO.UK remains proud that it is still extremely selective.

In 2020, the notion of reviews being needed to achieve a promotional profile underwent an existential crisis among media platforms. With streaming now being the main method of music consumption, why would anyone want to read a blog for an opinion about an album when they can just hit ‘play’ and hear the thing for themselves on Spotify, Amazon, Tidal or Bandcamp?

The sound of classic synthpop does live on happily in today’s mainstream via singles by THE WEEKND, DUA LIPA and even STEPS! In that respect, the trailblazing kings and queens of Synth Britannia from four decades ago did their job rather well.

From SUGABABES mashing-up ‘Are Friends Electric?’ for ‘Freak Like Me’ in 2002 to ‘Blinding Lights’ borrowing a bit of A-HA in 2020, the sound of synth is still strong.

It is up to any potential successors to live up to that high standard of Synth Britannia, which was as much down to the quality of the songwriting, as much as it was to do with the sound of the synthesizer. It is a fact that many overlook and if aspiring musicians could pay more attention to the song, instead of making the synthesizer the excuse for the song, then classic electronic pop music may still be around for a little longer and continue to evolve.

ELECTRICITYCLUB.CO.UK Contributor Listings of 2020

PAUL BODDY

Best Album: LOGIC SYSTEM Technasma
Best Song: NEW ORDER Be A Rebel
Best Gig / Live Stream: NICOLAS GODIN at London Rough Trade
Best Video: POLLY SCATTERGOOD Snowburden
Most Promising New Act: RUE OBERKAMPF

IAN FERGUSON

Best Album: ASSEMBLAGE 23 Mourn
Best Song: DUBSTAR I Can See You Outside
Best Gig / Live Stream: WITCH OF THE VALE online Unplugged Live for SAY Women
Best Video: STEVEN WILSON Personal Shopper
Most Promising New Act: LASTLINGS

SIMON HELM

Best Album: LINEA ASPERA LPII
Best Song: PAGE Blutest Du?
Best Gig / Live Stream: LAU NAU + VILE ELECTRODES at Cecil Sharp House
Best Video: STRIKKLAND Dance Like A God
Most Promising New Act: INDEPENDENT STATE

CHI MING LAI

Best Album: LINEA ASPERA LPII
Best Song: ALANAS CHOSNAU & MARK REEDER Heavy Rainfall
Best Gig / Live Stream: LUSTANS LAKEJER online at Malmö KB
Best Video: ULTRAFLEX Olympic Sweat
Most Promising New Act: LASTLINGS

MONIKA IZABELA TRIGWELL

Best Album: ERASURE The Neon
Best Song: DUBSTAR Hygiene Strip
Best Gig / Live Stream: IŻOL Koncert online at Ziemi Rybnickiej
Best Video: PET SHOP BOYS Monkey Business
Most Promising New Act: MENTRIX

Text by Chi Ming Lai
21st December 2020

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