Having captured the claustrophobic solitude of lockdown with ‘Small World’, SNS SENSATION follow-up that slice of disco noir with a variation on the theme.
Entitled ‘Your Door’, this reflective electronic number deals with the effect that isolation has on the wider human condition.
Highly influenced by the cool synthpop templates of NEW ORDER and PET SHOP BOYS, Sebastian Muravchik is the man behind SNS SENSATION.
Muravchik was best known as the front man of HEARTBREAK and while that project’s Italo sheen remains one of the continuity elements within SNS SENSATION, less prominent though are the heavier synth rock elements that came via musical partner Ali Renault. However, ‘Your Door’ springs a surprise with some distorted guitar in the final third to counterpoint its more wistful elements.
The promo music video for ‘Your Door’ is another inventive home-made affair and tells the story of a young school boy dealing with lockdown, unhappy about being taught by parents and unable to meet friends, but finally getting to enjoy the wide-open spaces of the great outdoors.
The video is a London-based present day colour tribute to Francois Truffaut’s 1959 nouvelle vague drama ‘The 400 Blows’, a story about a misunderstood Parisian adolescent who struggles with his parents and school. Elements could also be thematically seen to visually resonate a similar sentiment to TEARS FOR FEARS and the artwork for their debut album ‘The Hurting’.
Being in lockdown has made many feel like John Tracy in Thunderbird 5 and the subtle processing on Muravchik’s voice creates a hazy cabin fever feeling that aesthetically conveys all manner of frustrated emotions within ‘Your Door’.
In an interview with ELECTRICITYCLUB.CO.UK in April, Sebastian Muravchik said: “After the initial shock and the panic that ensued from becoming aware of what this pandemic could be and mean, I felt that facing the reality of it head-on in my work was a way of coping: perhaps a sense of control, even if illusory.”
He concluded that “My contribution is to help make some sort of sense of this reality; to try to understand more”.
But Muravchik admitted “the biggest challenge of all, bigger than the very real and horrific death we all justifiably fear, is freedom. And for as long as we manage to stay healthy, freedom is everywhere.”
If there is a song right now that captures the claustrophobic solitude of lockdown isolation both aurally and visually, then it is the appropriately titled ‘Small World’ by SNS SENSATION.
SNS SENSATION is the solo musical vehicle of Sebastian Muravchik, best known as the charismatic front man of the Italo flavoured electro rockers HEARTBREAK; together with Ali Renault, the pair were often on concert billings with LITTLE BOOTS and LA ROUX during the electro resurgence of 2007-2009.
A song about self-isolation during the pandemic crisis, ‘Small World’ itself is a throbbing electronic number with icy rhythms, marrying the elegance of minimal synth with the melodic presence of Italo disco. It is reminiscent of ‘I’m Still Searching’ and ‘Miserabilsm’, two songs released respectively as B-sides by VISAGE and PET SHOP BOYS.
Articulating the mood of our times, Sebastian Muravchik kindly spoke from the isolation of his ‘Small World’…
The subject matter of ‘Small World’ is quite timely with everything going on in the world, is that a coincidence?
The release was going to be a different song, but this pandemic kicked off and ‘Small World’ happened quite quickly as a response to it. Having said that, many of the issues enhanced by this crisis are there in regular times; existential ghosts that you’ll find in this pandemic song, but also in other SNS SENSATION’s songs, unrelated to the pandemic.
‘Small World’ has an uptempo but claustrophobic feel which is also reflected in the video, how did you come up with both?
Writing and producing songs is easy, mostly, because the music and the lyrics write themselves, and the arrangements and ideas emerge from flow. The only real obstacles in the way are ego and fear.
In this blurry channelling of ideas, one key concept was descending steps. The claustrophobia in descent. Descent is there in the lyrics, the music and the music video (including the descent of what’s falling onto you).
The aim was to find claustrophobia in the way disease, fear, uncertainty, meaninglessness and time itself descend onto your feeble existence (or how it descends onto them). A down-sloping diagonal, like a steeper remake of ‘North by Northwest’ by David Lynch.
After the initial shock and the panic that ensued from becoming aware of what this pandemic could be and mean, I felt that facing the reality of it head-on in my work was a way of coping: perhaps a sense of control, even if illusory.
There are enough good artists out there singing bright songs of hope and togetherness, and they do it very well. My contribution is to help make some sort of sense of this reality; to try to understand more.
Some may know you from your work with HEARTBREAK, so how does SNS SENSATION differ conceptually and musically? Who are your influences and inspirations in this respect?
SNS SENSATION is more cinematographic, tends to be more noir. SNS SENSATION’s disco-pop is more tinged by minimal wave and post-punk, and acts like DEUX, or the more wistful end of INTERNATIONAL MUSIC SYSTEM; but the bedroom textures of old school house and techno are still there to be found.
SNS SENSATION is also more aligned to KRAFTWERK’s emotional channeling (e.g. ‘Neon Lights’, ‘Metropolis’, ‘Spiegelsaal’, etc), ie the movement in the still picture, as opposed to HEARTBREAK’s attempt to stop time by invoking the speed of light.
SNS SENSATION’s approach to multiplicity in identity is channeled through the cinematographic, rather than by putting the personality of the rock star through the cycles of a washing machine, as we do in HEARTBREAK. The robotic is still there, but it’s a film star robot (‘Das Modell’).
There is a lot less influence from Metal as well, since Ali is the expert on that genre, and I feed from his passion for metal in our collaboration. And less of that electro-industrial edge that Ali brings to the work we do together.
Singing-wise, less Ozzy in this project, and more the Ralf Hutter end of Neil Tenant’s singing, as well as the singing in IMS’ ‘Runaway’ (what is that singer’s name!? anyone?). Horror is still key, but SNS SENSATION focuses on the fear while HEARTBREAK focuses on the gore… but just like HEARTBREAK, openness and a wide range are key, letting the creative flow dictate what a project is, and what it becomes.
SNS SENSATION embraces influences from EARTH WIND & FIRE, from CASCO (rip Salva x), and from DAS DING. It’s about the song as much as the sound. If you can picture the band SEND MORE PARAMEDICS dancing to John Parr’s ‘Man in Motion’, you’ll get the idea. There’s some very bright disco pop and some eco-apocalyptic minimal synth-inspired songs, and some in the middle.
Even if both HEARTBREAK and SNS SENSATION are heavily grounded in disco and the bedroom producer aesthetic, I am quite curious as to how HEARTBREAK fans will respond to SNS SENSATION’s more sombre shades, as well as its overexposed pop inclinations… in other words, I hope they like it!
Some may not know you were the voice of ‘Anthonio’ in the ‘Annie’ response single in 2009, working with Richard X. How do you look back on that experience and how it may have shaped SNS SENSATION?
It was really helpful; it was an opportunity to explore that other singing range I hadn’t found an outlet for, guided by a top producer. I was really happy with the outcome too, and sort of opened the door for me to be more confident in exploring this SNS SENSATION area.
Richard X also helped me with the vocal recording of an SNS SENSATION single produced back then, ‘Everybody’; he was very supportive about the songwriting aspect of my work, which helped a lot too.
So what is next for SNS SENSATION ? An album or EP?
SNS SENSATION’s strategy is more digital singles, monthly or so. An EP is definitely a possibility, a decent format right now (concise, yet showing range and a journey through songs). There are plans for a vinyl EP with a fantastic label at some point this year hopefully, but no date confirmed yet. I am very excited about a physical release through such a highly reputed label. I always have loved vinyl (also tape).
Another aim is to keep developing the SNS SENSATION video and photography work, and find out how social media can be an aspect of its body of work. To keep SNS SENSATION evolving, and figure out its audience.
I’m enjoying it enormously, the experimental freedom and the fun of seeing where it goes, the wondrous surprises, the constant learning.
What is the strategy for modern music marketing now as HEARTBREAK came out of period before streaming took hold and where selling to the mainstream was still a target for many labels?
What was just starting back in the days of HEARTBREAK’s ‘Lies’ is now the norm. The more I understand and adapt to it, the freer I feel.
One thing I love about social media is that it is generally accepted as a way of putting “unfinished work” out there, of experimenting and trying out things; most people accept it as a form of documenting your process, or just having fun! It encourages you to be creative every day of your life, not just during the album recording phase.
All the restrictive stages of the previous exposure model are irrelevant now; even the greatest stars discover themselves in this looking glass 🙂
Also the idea of sharing in social media is still strong I think. The relationship to fans is so much healthier than it used to be, less oppressive for fans, less lonely for artists. And the multiple is there too: you are part of different groups, where you can indulge your love for music, for images, for history, experiments and novelty. If you use it right (and not everybody does), it can be very organic and natural. It allows you to be yourself; but more importantly, it allows you to disguise yourself, which is more honest!
Release strategy-wise, I think regular singles are great, very dynamic and respectful of people’s time. They also enable the songs to remain relevant to a fast-changing world. But particularly, as a songwriter, I feel really excited about the space and the importance that it gives to THE SONG. Songs are easy to write, but a good song is rather hard to come by – respect to the makers of this complex form is overdue, in my opinion.
I genuinely think this is a wonderful time to be alive. As we face extinction on several fronts, and however real the panic and the horror is, we are forced to become more resourceful and creative with our technologies, to adapt, and also to face the truth.
We are forced to love every breath we are able to take, like that Italian doctor said who was recovering from the virus.
And the biggest challenge of all, bigger than the very real and horrific death we all justifiably fear, is freedom. And for as long as we manage to stay healthy, freedom is everywhere.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Sebastian Muravchik
Jorja Chalmers’ debut LP ‘Human Again’ was something of a conceptual observation on the human condition, a musical reality check following the artifice of adulation.
Conceived and sketched in hotel rooms around the world while in her dayjob as the sax / keys player for ROXY MUSIC’s Bryan Ferry, it captured the comedown of emptiness and alienation often arising from living the dream and touring to packed houses around the world.
The primarily instrumental suite was released in September 2019 by Italians Do It Better, home to CHROMATICS, DESIRE and HEAVEN, as well as being co-mixed by head honcho Johnny Jewel. While the Australian multi-instrumentalist has been something of a live veteran, having been part of the London music scene as a member of HOTEL MOTEL in the mid-noughties, Jorja Chalmers’ set at The Lexington was her first ever solo performance.
Backed by Ali Renault, best known as the synth man from Italo-influenced duo HEARTBREAK, the intimate London space was ideal for the introspective downtempo nature of the ‘Human Again’ material.
The organic spiritual tones of ‘Black Shadow’ began proceedings to create an uneasy ambience and a desolate air of mystery in keeping with its title.
But the set was not just about instrumentals as ‘She Made Him Love Again’ saw Chalmers put her breathy but spooky voice to good effect. A song of a sombre synthy disposition in the vein of the ‘Blade Runner’ soundtrack, a more prominent deep intervention of sax than on the record added an extra human quality, echoing the cult movie’s own blues.
The more rhythmic ‘Red Light’ added vocal ad-libs to counter its sinister claustrophobic Cold War atmosphere, all very Berlin in its mood with a variety of chilling dissonant keyboards.
New number ‘Don’t Think’ recalled the electro-dubby wash of lost Glaswegian trio ONE DOVE while the doomy metallic chill on ‘Copper Bells’ was given resonance, thanks to the meaty combination of pulsing arpeggios and a layer of Klaus Schulze-like string machine.
On the ‘Human Again’ title song, our heroine took to her sax and mic again. Like a forlorn Enya wandering into ‘Twin Peaks’, her emotive declaration that “I’ve been on my own for so long” captured the feeling of solitude in company, an often discussed post-gig condition.
Closing with two new songs, the comparatively boisterous ‘Warrior’ fused a distinctive marimba line with sax. But the sexy synth ‘n’ sax of ‘You Should Love Me Tonight’ was even more of a surprise. Very avant pop in its construction, this slinky tune was a considerable departure from the more understated tracks collected on ‘Human Again’, coming over like a brilliant art school take on Cyndi Lauper.
It was a captivating half hour presentation which showed that material from the ‘Human Again’ album could work effectively within a live context and hold the attention of an audience. But having displayed a song-based prowess in the newer material, where Jorja Chalmers will take her music in the future is deliciously intriguing. So watch this space!
When London based electronic disco duo HEARTBREAK first appeared, they prided themselves on being “kind of how the 80s would sound today if the 90s hadn’t got in the way”.
Fronted by the charismatic Argentinian vocalist Sebastian Muravchik and backed by Chester-born producer Ali Renault’s dramatic heavy metal electro where guitars were substituted for a Roland SH101, they somehow managed to mix BLACK SABBATH with Italo Disco.
This incongruous cocktail came together in a sinister but joyous manner that would “make the world dance with tears in their eyes, like bi-polar maniacs on the brink of an ecstatic panic attack!”.
Anthemic songs such as ‘Destroy All Power’ and ‘My Tears Electro’ put HEARTBREAK alongside WHITE LIES, LITTLE BOOTS and LA ROUX in the promising synthy school of 2008, with the duo touring with the latter two. However, despite these well-received live performances, HEARTBREAK went into hiatus with just one album ‘Lies’ to their name.
But in keeping with their best known song ‘We’re Back’, Sebastian Muravchik and Ali Renault have announced an unexpected return with a reunion gig at The Moth Club in London’s Hackney for Hypnotic Tango with ITALOCONNECTION, the production team featuring Italo legend Fred Ventura.
The duo kindly chatted about what has been happening over the last few years within the HEARTBREAK camp and what they might have planned for the future.
One of the influences in HEARTBREAK was Italo Disco which is now being reappraised in a more positive light with documentaries like ‘Italo Disco Legacy’. How did you come to discover and love it?
Seb and Ali: It was always there, from childhood. It was big both in Italy where Ali lived and in Buenos Aires as well, where Seb is from. But then of course Ferenc drew attention to it through the CBS and then IFM, and here DJ Casionova made us realise this was more than music, it was a mission. It was always there and always will be; to quote Casionova: “Italo is forever”.
Your signature song ‘We’re Back’ is proving to be quite prophetic?
Seb and Ali: In many ways, yes. Back then there were a few nights in the country pushing the sound, but it was mostly ignored in the UK, as it had been for decades since its inception. These days it seems to be a fairly well established scene.
For instance Fred Ventura is a regular visitor here these days, and we’ll be lucky enough to share the bill again with him on the 15th. Salvatore also managed to finally DJ here a few times before his extremely untimely passing – credit the classic Cyber Dance crew for a lot of this.
There was a certain hypocrisy towards Italo Disco in the UK despite it being an important aspect of PET SHOP BOYS and NEW ORDER?
Seb and Ali: You bet. Italo in the UK carries political weight, in a similar understated way to how Disco was political in the US during the 70s. I think in that sense it is more relevant now than it ever was before.
Another element of HEARTBREAK was the heavy electronic sound and also being very energetic live…
Seb and Ali: Metal was and is very important to us as an influence in a variety of ways.
We called it Metallo, but you know, as soon as we define our work as something we seem to immediately move in a different direction.
Nevertheless, from classic metal like Sabbath and so on through Thrash and into Death Metal, themes, energy and attitude influence what we do – we also greatly admire the scene’s endurance and its uncompromising artistic stance.
Why did the HEARTBREAK hiatus happen in the first place?
Seb and Ali: Love tore us apart.
What did you both do during the break?
Seb: I wrote and produced the SNS album and toured with the band, and also did some acting in the occasional soap opera in Buenos Aires when the political climate allowed it (it’s too risky at the minute, but it was fine for quite a few years before). I have also done some academic work and research on photography and screenwriting, and recently started a third wave of work with Movimiento Improbable, looking a lot into early electronic and tape music, and classic tango of course.
Ali: I went back to concentrating on solo projects under my aliases Ali Renault and Cestrian as well as starting a new EBM influenced project called PARASOLS. In 2013, I started a new label Vivod, now 22 releases in and started my own Radio Show on Intergalactic FM, Vivod Radio 3 years ago. Other than that, I’ve been gigging around Europe taking my live set around but mostly DJ-ing.
Looking back to 2008-2009, it was a crazy time… you had a lot of good press, were collaborating with LITTLE BOOTS on the song ‘Magical’, remixing for SUGABABES + SAINT EITENNE and doing the NME tour with LA ROUX, what do you remember of it?
Seb and Ali: Intense highs, deep lows, considerable joy, considerable pain. But above all, great gigs all round.
How do you reflect on the recording of the ‘Lies’ album? Which tracks do you think still stand up today?
Seb and Ali: ‘Regret’ is our favourite – something special happened there; but also ‘We’re Back’ and ‘My Tears Electro’.
‘The Deadly Pong of Love’ has actually grown on both of us and we love it even more than we did back then. ‘Robot’s Got the Feeling’ does as well, everything basically, except maybe for ‘Give Me Action’ which hasn’t aged too well we think.
‘My Tears Electro’ was a song on the ‘Deceit’ EP, what was that inspired by?
Seb and Ali: Hope against hope, belief in the impossible, and the overwhelming sadness underlying any fight worth fighting. HEARTBREAK in a way was about turning anger and despair into love and lust for life. All of it simultaneously strengthened and undermined by what we consider our own lines of flight.
You did a cover of ‘Loving The Alien’ for the ‘Life Beyond Mars – Bowie Covered’ album but of course, he’s sadly no longer with us…
Seb and Ali: He was an excellent songwriter, a fact sometimes overshadowed by the visual aspect of what he did (which was very strong as well of course), and the overall myth he projected so effectively. His post-modern stance on identity is influential to Seb, and so is his early work as a lyricist, but we cannot say his sound at any particular stage bears relevant influence to HEARTBREAK’s, production-wise.
The ‘Anthonio’ song Sebastian did with Richard X over the Annie backing track was good fun and rather authentic…
Seb: I’m really thankful to Richard X for the opportunity to explore that singing register and expression, something I’ve always wanted to do. It was a fun idea and I’ve learnt a lot from working with Richard on that and another bit of vocal recording for SNS he once helped me with. I am better as a singer because of that experience. I hope someday somehow I get to work with him again.
How do you feel about how the music business landscape and social media has changed since ‘Lies’ came out in 2008?
Seb and Ali: Best time for music ever. As a business, streaming shows amazing potential. Vinyl costs could be covered by streaming profits, but we also hail the return of the cassette tape, all potentially enhanced by the streaming model’s democratising wealth. In terms of social media, we like the accountability it brings and how it might help to a degree do away with the harmful ghosts that smother the music world in smoke and mirrors, purifying the listening experience and music culture in general. I think it can empower fans and help them through some of the psychological hardships associated with following the work of their favourite artists.
So are HEARTBREAK back for the long haul and will there be new material?
Seb and Ali: We’ll do the Moth Club gig, see how that goes and take it from there. But we’re in a good place right now. This gig to us is a celebration of what HEARTBREAK was, an honest mission full of love at a time where that was (and now probably remains) fairly rare among electronic bands, but also a celebration of a great friendship that we thought had broken down for good and never thought we’d be able to rebuild. Being friends again is a bit of a miracle to be honest, which we value greatly. The idea is that, whatever we do next, this time the friendship comes first.
Your comeback performance will be at The Moth Club in London with Fred Ventura’s ITALOCONNECTION, what have you planned for that?
Seb and Ali: Blood and tears.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to HEARTBREAK
‘Lies’ released by Lex Records is still available as a CD, vinyl LP or download from the usual online retail outlets or direct from https://shop.lexrecords.com/
HEARTBREAK play The Moth Club, Valette Street, Hackney, London E9 6NU as part of Hypnotic Tango on Friday 15th June 2018 with ITALOCONNECTION + IL BOSCO
The recent documentary ‘Italo Disco Legacy’ and its accompanying soundtrack allowed a much maligned if cultishly celebrated form of electronic pop to be artistically re-evaluated.
Arguably pioneered by Italian producer Giorgio Moroder via his various projects using the then-new sequencer technology, Italo Disco coincided with the growing use of synthesizers, vocoders and drum machines within dance music and became a distinct sub-genre with its own electro heart.
Despite its name, Italo Disco was not strictly a native affair; the form became a stylistic phenomenon in territories such as Spain, Greece and France, parts of the USA such as New York and Los Angeles, Sweden and Germany. In fact, it was the German record label ZYX Music who coined the term and were particularly key in taking the music out of Italy, leading it to become a rogue gene in House music before eventually mutating into Eurodance.
One of the countries not to truly embrace Italo Disco was the UK where club audiences preferred the more soulful adrenalin rush of HI-NRG. However, it literally came in through the back door when it was a key influence in the music of PET SHOP BOYS and NEW ORDER, particularly in their use of very Eurocentric octave shift basslines and easy-to-dance-to beats.
Highlighting the British hypocrisy of only accepting Italo Disco provided it was fronted by the aloof cool of a Neil Tennant or a Bernard Sumner, in a 1986 issue of Record Mirror discussing PET SHOP BOYS’ ‘Suburbia’, the reviewer confessed: “Despite the fact that I love the PET SHOP BOYS as much as I loathe MODERN TALKING, I have to admit that musically, they’re not that different!”
One key aspect of Italo Disco was that the majority of its artists used very English names in an attempt to hide their origins. However, the charming accents often captured an amusing vocal detachment while the frequent “woah-oh” refrains, abundance of catchy melodies and timing mistakes also contributed to its escapist appeal.
Italo Disco went global with Laura Branigan whose two biggest hits ‘Gloria’ and ‘Self Control’ were covers of Italian artists UMBERTO TOZZI and RAF respectively, while Samantha Fox and Sabrina were two of the more noticeable figures in pop who used it as a springboard for their own high profile careers.
Providing the soundtrack to many a Mediterranean summer holiday, the zenith of Italo Disco’s ubiquity (and some would say banality) was probably BALTIMORA’s ‘Tarzan Boy’, the worldwide hit fronted by the late Northern Irish model Jimmy McShane, although the lead vocals were performed by one Maurizio Bassi in a practice that was exploited frequently by the sub-genre’s producers.
Longevity was very rare in Italo Disco, so its history is represented more by a number of great records rather than great artists, although several such as FANCY, SAVAGE, BOBBY O and RYAN PARIS have entered into music folklore.
Latterly, Anglo-Argentine duo HEARTBREAK revived the form with a much harder sound and KNIGHT$ has added his own Home Counties take on the form labelled as Britalo. Meanwhile Italo Disco’s continuing influence can be heard within most types of modern electronic music including Synthwave.
In these darker, more turbulent times, the sunnier disposition of Italo Disco is just what the Doctor Rhythm ordered. So here are 25 nominally Italo Disco tracks which have brought a smile to ELECTRICITYCLUB.CO.UK’s face, with a restriction of one track per artist in chronological and then alphabetical order.
KLEIN & MBO Dirty Talk (1982)
KLEIN & MBO were formed by Italian producer Mario Boncaldo and American arranger Tony Carrasco. Like a blueprint of early house music, their rhythmically hypnotic neo-instrumental ‘Dirty Talk’ with its orgasmic vocal interludes by jazz singer Rossana Casale proved to be a big influence on NEW ORDER for ‘Blue Monday’. Meanwhile MISS KITTIN & THE HACKER covered the track for their ‘Champagne’ EP in 1998.
Available on the KLEIN & MBO single ‘Dirty Talk’ via Tirk Recordings
Bobby Orlando is credited as one of the founding fathers of Hi-NRG dance music thanks to his work with DIVINE, but operating at a more disco friendly 122BPM, ‘I’m So Hot For You’ was ‘Don’t You Want Me?’ taken on a New York subway ride with its rolling bass lines and Latin beats. The track was later sampled in 2003 for ‘Da Hype’ by JUNIOR JACK.
Available on the BOBBY O album ‘The Best Of’ via High Fashion
THE FLIRTS were an interchangeable girl trio of one redhead, one blonde and one brunette under the control of Bobby Orlando, whereby those who did the personal appearances had no relation to those who had sang on the tracks. ‘Passion’ was a favourite of PET SHOP BOYS so much so that it was the inspiration for ‘In The Night’ while FELIX DA HOUSECAT ripped it lock, stock and barrel for ‘Silver Screen – Shower Scene’.
A Canadian disco producer of Italian heritage, Gino Soccio’s finest moment came with ‘Remember’, a pulsating sequencer assisted number featuring some vocoder augmentation and the sexy nonchalant voice of Marie-Line Vasseur over a fabulously retro-futuristic string machine. Ahead of its time, this was a forerunner of what was to emerge as Electroclash.
Available on the GINO SOCCIO album ‘Face To Face’ via Rhino Atlantic
A project helmed by Maurizio Cavalieri who had been a member of the Italian group FIREFLY and co-written with Giorgio Stefani, ‘Spacer Woman’ featured a mysterious Gina X styled lead vocal over some electro break beats that unlike other Italo Disco recordings, used more colder synth sounds that were more associated with UK acts like THE HUMAN LEAGUE. Picked up by ZYX Music for international release, this was to be the only CHARLIE track released.
Available on the CHARLIE single ‘Spacer Woman’ via Mr Disc
Canadian Corey Hart is best known for ‘Sunglasses at Night’, a catchy tune with its characteristic synth arpeggio, rock guitar and cryptic lyrics apparently inspired by the studio personnel wearing sunglasses protect their eyes from the air conditioning positioned above the control desk! The song was covered in an Electroclash vein in 2001 by TIGA & ZYNTHERIUS, while the original made an appearance in an episode of ‘Stranger Things’.
Available on the COREY HART album ‘The Singles’ via EMI Music
The project of Italian duo Flavio Vidulich and Giorgio Bacco (hence the moniker), the futuristic robotic vocoder opera of ‘Take A Chance’ had a subtle tinny banality that made it extremely appealing. PET SHOP BOYS borrowed its feel for the early B-side ‘A Man Could Get Arrested’ while it use of minimal rhythmic guitar and sequencers clearly had an effect on NEW ORDER’s Bernard Sumner.
Available on the MR FLAGIO single ‘Take A Chance’ via The Saifam Group
IVAN was the stage name of Spaniard Juan Carlos Ramos Vaquero and he naturally found a home for his music in Spanish speaking territories like Mexico, Colombia, Ecuador and Chile. The sunny octave vibe of ‘Fotonovela’ with its bells, strings and accordions was to be his greatest moment; indeed the Greek production duo who produce MARSHEAUX are named after this song.
Available on the IVAN album ‘Lo Mejor De’ via Sony Music
Italian musician and singer Pietro Paolo Pelandi named himself P.LION thanks to only having Ps in his name while with his aristocratic background, his family coat of arms was a lion. The optimistic synth brass laden ‘Happy Children’ was to be his biggest song, becoming popular in France and later in the colder climes of Sweden where Italo Disco was to find an unexpected audience.
Born Maurizio Dami, the Italian electronic musician was a founder member of the quirky art cabaret trio named AVIDA. ‘Problèmes D’amour’ with its clattering drum machine, swirling analogue synths and cutesy female voiced counterpoints found a cult audience. Later working in soundtracks and world music, Dami continues making electronic dance music in the present day under the ALEXANDER ROBOTNICK moniker, remixing ‘Stuck On Repeat’ for LITTLE BOOTS in 2009 along the way.
Available on the ALEXANDER ROBOTNICK single ‘Problèmes D’Amour’ via Materiali Sonori
While his real name was Fabio Roscioli, his huge hit ‘La Dolce Vita’ was written and produced for him by Pierluigi Giombini, who not only wrote songs exclusively in English but was keen to move the established Italian singer away from rock. Paris recently returned to the spotlight with ‘Love On Ice’ in collaboration with Johan Agebjorn and Sally Shapiro, a song from the soundtrack for the Swedish thriller ‘Videomannen’.
Available on the RYAN PARIS album ‘The Best Of’ via Dvmor
Despite having a long music career which continues to this day, Tuscan native Roberto Zanetti is still best known for debut single ‘Don’t Cry Tonight’, a moody slice of disco lento that was hugely successful across Europe. One notable fan was Chris Lowe, who used the song to open his playlist in PET SHOP BOYS ‘Back To Mine’ mixtape collection in 2005.
The alluring tones of VALERIE DORE were actually masterminded by producer Roberto Gasparini and fronted by Monica Stucchi who lip-synched on public appearances to the vocals of Dora Carofiglio on the first two hits ‘The Night’ and ‘Get Closer’. Stucchi herself voiced her recordings after 1986 and continues performing as Valerie. Meanwhile ‘Get Closer’ itself was covered by Marc Almond with STARCLUSTER in 2016.
Available on the VALERIE DORE album ‘The Best Of’ via ZYX Music
Under the stage name of FANCY, Manfred Alois Segieth cut a striking androgynous figure within Italo Disco, scoring an international hit with the extremely saucy ‘Slice Me Nice’. The German born Spaniard even made headway in the US Billboard Dance Charts in 1985 with ‘Chinese Eyes’ and ‘Come Inside’, while ‘Bolero’ hit the top spot in Spain. At the age of 70 in 2017, he took the Guinness world record for the highest ever pop concert in La Paz, Bolivia!
Originally released on Milan’s Discomagic Records, ‘Butterfly’ was Moroder influenced Italo Disco with an oriental flavour and a catchy refrain derived from Puccini. It’s so obscure that there is virtually no information about it, although it was written by Ronald Hanson, Michele D’Alessandro and Massimo Parretti while progammed by Piero Cairo. ZYX Music dug it out for a compilation in 2010.
Available on the OP.8 single ‘Butterfly’ via ZYX Music
Raffaele Riefoli actually lived in London before starting out his musical career. He scored a domestic hit with his co-write ‘Self Control’, but hit paydirt when it was covered by Italian pop enthusiast LAURA BRANIGAN. ‘Black & Blue’ was one of the highlights from his debut album called ‘Change Your Mind’ in most territories which featured slap bass and all the then-modern technological trimmings which wouldn’t have sounded out of place as a release on PET SHOP BOYS’ Spaghetti Records imprint.
Available on the RAF album ‘Self Control’ via East West Italy
The vehicle of Italian singer Maria Chiara Perugini, the sophisticated and stylish aura of CLIO’s ‘Faces’ was written and produced by Roberto Ferrante who later founded Planet Records. With its pretty colourful melodies and punchy rhythms, it could have been mistaken for early MADONNA. The track was covered by Canadian synth duo ELECTRIC YOUTH in 2011.
Singer and actor Fabrizio Rizzolo was the man behind the ice and ‘Talking To The Night’ was apparently composed and written in just a few minutes, using just about every Italo Disco cliché in the book, especially with its “woah-oh” vocals. A limited edition 12 inch issued on ZYX Music played from the label outwards! He later co-wrote ‘Never Be Lonely’ for Gloria Gaynor and continues a successful career in Italian TV and theatre.
Sensing he could achieve another massive hit if the song had an extremely handsome frontman, FANCY made the idea reality when Indiana-born model Grant Miller-Benton was introduced to him by DIVINE. Produced by FANCY under his Tess Teiges moniker, Miller scored a debut hit in Germany when it was released by ZYX Music. A popular personality within the scene, a later single ‘Doctor For My Heart’ released in 1986 was produced by Dieter Bohlen of MODERN TALKING.
Caroline Catharina Müller was a German domiciled Dutch pop singer who was a member of the girl group OPTIMAL. Spotted by Dieter Bohlen of MODERN TALKING, he signed her to Hansa Records and launched her solo career. A breathy vocal and an enticing lead synth line plus a fabulous catchy chorus laced with orchestra stabs ensured that ‘Cause You Are Young’ was a big European hit.
Available on the CC CATCH album ‘The 80’s Album’ via Edel Records
Hailing from Peterlee in County Durham, Cliff Richard fan and model Edward Huntington sought fame and fortune as a pop singer in Italy. Discovered by Baby Records, they took him to Milan to record the catchy ‘USSR’, written by the same production team behind DEN HARROW. Released in the rest of Europe by ZYX Music, the song unexpectedly became a hit in the Soviet Union. Huntington later returned to the UK to become a primary school teacher.
Available on the EDDY HUNTINGTON album ‘Bang Bang Baby’ via Baby Records International
Comprising of ridiculously tanned singer Thomas Anders and musician Dieter Bohlen, MODERN TALKING’s overtly catchy melodic tunes like ‘You’re My Heart, You’re My Soul’, ‘Cheri Cheri Lady’ and ‘Brother Louie’ ensured they were simultaneously the most successful and most hated pop duo in West Germany. Bohlen later gained notoriety as a judge on ‘Deutschland Sucht Den Superstar’, taking on the role of Germany’s answer to Simon Cowell.
Sweden’s Paul Rein was their home grown Italo Disco star and ‘Lady-O’ showed that cold weather and dark nights was no barrier to producing upbeat electronic dance music. He has since continued a career as a songwriter for artists like Christina Aguilera, Jessica Simpson and Mandy Moore, but perhaps as a reaction to his fame, his daughter Joanna is now making waves in EBM, having opened for DAF in 2016!
Available on the PAUL REIN album ‘Communicate’ via 22:22 Music
Italo Disco legend Federico Di Bonaventura began his music career with a 4 track cassette machine, a Roland Juno 60, an Oberheim DX and a passion for NEW ORDER. ‘Winds of Change’ was a rousing Italo Disco track with cowbells and big digital drums that brought him European success. He continues making music today with Paolo Gozzetti as ITALOCONNECTION who have remixed THE HUMAN LEAGUE, HURTS and KNIGHT$ amongst others.
A play on the Italian word “denaro” meaning money, this project was the brainchild of producers Miki Chieregato and Roberto Turatti. Fronted by fashion model Stefano Zandri, it was however American singer Tom Hooker who provided the voice on the biggest hit ‘Don’t Break My Heart’. Despite Zandri admitting in 2012 that he did not sing on any of the records, he continues to make public appearances as DEN HARROW having taken singing lessons in 1998.
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Having captured the claustrophobic solitude of lockdown with ‘Small World’, SNS SENSATION follow-up that slice of disco noir with a variation on the theme.
He concluded that “My contribution is to help make some sort of sense of this reality; to try to understand more”.
is available now as a digital single via all the usual platforms including 
is released by Italians Do it Better in CD, vinyl LP and digital formats, available from 
to their name.
via Tirk Recordings
via High Fashion
via High Fashion
via Rhino Atlantic
via Mr Disc
via EMI Music
via Sony Music
via Nocolors
via Materiali Sonori
via Dvmor
via ZYX Music
via ZYX Music
via Pokorny Music Solutions
via ZYX Music
via East West Italy
(V/A) via Hot Hits
via ZYX Music
via ZYX Music
via Edel Records
via Baby Records International
via Sony Music
via 22:22 Music
via Clone Classic Cuts
via DV Digital
soundtrack is released by Private Records as a 2LP + DVD package, available from
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