‘Cowgirls & Synthesizers’ is the amusing 2023 docufilm by the quirky Texan synth do HYPERBUBBLE.
Comprising of married couple Jessica and Jeff DeCuir, ‘Cowgirls & Synthesizers’ traces their two decade career and the true-story of how HYPERBUBBLE drove to Nashville to record a Country and Western album ‘Western Ware’ using only synthesizers, drum machines and theremin!
Directed by Joe Wallace, with noted musical mischief maker Ricardo Autobahn narrating, commentary is provided by Samantha Newark of cult cartoon series ‘Jem & The Holograms’, Manda Rin of BIS, SHOES, FREEZEPOP and OUR DAUGHTERS WEDDING while somewhere along the way, HYPERBUBBLE end up winners in Dolly Parton’s Netflix song contest with their version of ‘Jolene’ as part of the promotion for her series ‘Heartstrings’.
It all sounds crazy but as Jeff DeCuir once said to ELECTRICITYCLUB.CO.UK in 2014: “Synthesizers with their pitch bend and portamento really lend themselves to that country twang! And the first three letters of ‘Moog’ spell MOO!” – and that recollection has not only ended up in the film but also the soundtrack album!
The record is packed full of fun and captures the essence of the film, beginning with the speedy electro-blueglass of the ‘Cowgirls & Synthesizers’ title song and its shopping list of iconic synths. Meanwhile, ‘Bionic Girl’ continues in the same frantic spirit if based around a more Sci-Fi aesthetic
One of the highlights is ‘Will You Spin For Me?’, a 1984 song originally recorded by SHOES who while known as power pop guitar band, actually had an interim period as a more synth-driven new wave act; here HYPERBUBBLE do fairly faithful cover with SHOES gamely providing backing vocals over the buzzy backdrop.
In 2021, HYPERBUBBLE did a remix of Samantha Newark’s ‘Hologram’ and they pay tribute to her on ‘I Was a Teenage Jem Girl’ and at the end, the lady herself mentions how ‘Jem & The Holograms’ had a live drummer before HYPERBUBBLE celebrate the joys of their ‘Little Drum Machine’; and while Roger Linn’ once posed ironically posed with a sticker that said “DRUM MACHINES HAVE NO SOUL”, the irony has been the since DEPECHE MODE opted to use a numbskull Drumhead, all the soul has gone from their mechanically driven classics when performed live!
Another cover comes in the shape of the OUR DAUGHTER’S WEDDING instrumental ‘Digital Cowboy’ with their own Scott Simon guesting on synth while not a cover, ‘Hyperactive Moviemix’’ concludes with a mad synth barrage and a solo snatch of their best known tune ‘Candy Apple Daydreams’!
The mood changes with ‘No Time To Say Goodbye’ which is a murder ballad in the classic folk tradition but with fabulously ghostly Theremin solo but when ‘Bionic Girl’ is reprised as an authentic “Bluegrass Version”, it acts as a fitting bookend to in validate their cross-genre adventure.
At just under half an hour, with its genre bending antics and places where no synth duo has gone before, ‘Cowgirls & Synthesizers’ is a fun and wacky experience, just like its parent docufilm. HYPERBUBBLE straddle that fine line between deserving an award or a straitjacket, but that is why they so appealing…
As the Yule Tide season gets into full swing, ELECTRICITYCLUB.CO.UK presents a collection of modern seasonal tunes with a more artful slant…
With a song to play on each of the 25 days in December until Christmas, some are covers with a modern approach while others gather their thoughts and emotions into original compositions. But each has their own take on the holiday period, whether happy or sad or both.
Synths at Christmas are not entirely new; ‘Last Christmas’ by WHAM! was primarily made with a Roland Juno 60 while BAND AID’s ‘Do They Know It’s Christmas? was dominated by PPG Wave 2.2 with a percussive sample taken from ‘Memories Fade’ by TEARS FOR FEARS also being key to the intro.
However the traditional nature of Christmas often dictates traditional instrumentation in its songs, which means that Christmas synth songs are comparatively uncommon and a more recent phenomenon.
Whatever your plans whether with the family or in the studio, please remember, a synth is for life and not just for Christmas… may it bring you lots of cheer! The 25 songs are presented in yearly then alphabetical order within…
BE MUSIC Rocking Carol (1982)
A Be Music production given away as limited edition flexi-disc of 4400 given away at The Haçienda on Christmas Eve 1982, with the greeting “Merry Xmas From The Haçienda And Factory Records”, this was NEW ORDER covering the traditional Czech seasonal tune also known as ‘Jesus Sweetly Sleep’ and ‘We Will Rock You’ as a robotic electronic tone poem.
Recorded as part of an album on behalf of Special Olympics that featured U2, Madonna, Whitney Houston, Bruce Springsteen, Bryan Adams and Alison Moyet among others, EURYTHMICS’ glistening electronic take on romance during the winter season was cited by ASCAP as now the most played version of the song which was made famous by Darlene Love.
Originally recorded by S.P.O.C.K for Energy Rekords’ ‘Virtual X-Mas 92’ EP and then a bonus song on their 1995 compilation ‘A Piece Of The Action’, this cover of the Irving Berlin standard made famous by Bing Crosby was suitably melodramatic as the holiday season was celebrated in The Neutral Zone while under threat of an alien attack.
Available on the compilation album ‘Virtual 2020 X-Mas’ (V/A) via Energy Rekords
SAINT ETIENNE Featuring TIM BURGESS I Was Born On Christmas Day (1993)
Delightfully catchy with a house-laden bounce, ‘I Was Born on Christmas Day’ was written in acknowledgement of band member Bob Stanley’s birthday for an EP ‘Xmas 93’. Featuring a duet between Sarah Cracknell and special guest vocals by Tim Burgess from THE CHARLATANS, the joyful narrative saw the couple elope, confusing some fans and press.
Originally recorded as a sparse ballad for the B-side of 1990 single ‘Your Sweetness Is Your Weakness’, Pete Burns’ foray into the music for holiday season was given a dancier makeover in 2000 and in hindsight, now sounds like a stylistic blue print for PET SHOP BOYS ‘It Doesn’t Often Snow At Christmas’. The two would later work together on the excellent ‘Jack & Jill Party’ in 2004.
Available on the DEAD OR ALIVE album ‘Fragile’ via Demon Music Group
With their naïve wispiness, understated cinematics and disco beats, if there act who are ably suited to Christmas pop music, it is Swedish duo SALLY SHAPIRO. A cover of a song by fellow Swede Nixon, the lines “The first time that I saw your face on a cold December night, it was a Tuesday on a gig with a band that we both liked” captured an innocent romance and the aural warmth of the named apparel.
Available on the SALLY SHAPIRO album ‘Disco Romance’ via Paper Bag Records
PET SHOP BOYS It Doesn’t Often Snow At Christmas (2009)
Originally recorded in 1997 for an exclusive fan club single but remixed in 2009, ‘It Doesn’t Often Snow At Christmas’ was a suitably cynical offering. Famous for keeping THE POGUES ‘Farytale Of New York’ off the 1987 UK Christmas No1 spot with their cover of ‘Always On My Mind’, while this didn’t hit those commercial heights, it provided a very PET SHOP BOYS take on the madness of the festive season.
Available on the PET SHOP BOYS EP ‘Christmas’ via EMI Records
CHEW LIPS might have disbanded but in 2010, on the back of their only album ‘Unicorn’ and its subsequent tour, they were on a productive high. ‘When You Wake Up’ was a bonus tune recorded and given away as a Christmas gift to fans at the end of that very successful year. Delivered with lead singer Tigs’ usual feisty panache, listening back only highlights how much CHEW LIPS are missed.
HURTS All I Want For Christmas Is New Year’s Day (2010)
With their TAKE THAT dressed as ULTRAVOX template, Theo Hutchcraft and Adam Anderson turned their attentions to memories of “the worst Christmas of our lives”. In true Bros Go To Bavaria style, despite the mournful start, ‘All I Want For Christmas Is New Year’s Day’ transformed itself into a hopeful anthem with a big chorus and lashings of tubular bells.
Available on the HURTS album ‘Happiness’ via Major Label / RCA
LOLA DUTRONIC Another Christmas Without Snow (2010)
In the UK, a wet Christmas is always more likely, but LOLA DUTRONIC’s ‘Another Christmas Without Snow’ resonated with its melancholic yet pretty demeanour. The project of Canadian producer Richard Citroen and using a flexible roster of wispy female vocalists, the tones of Lola Dee came over all dreamy like SAINT ETIENNE and conveyed the season’s mixed emotions.
Andy Bell and Vince Clarke’s version of this traditional Ecclesiastical Latin carol continued an ERASURE tradition that had begun with ‘God Rest Ye Merry Gentlemen’ for the CD edition of the ‘Crackers International’ EP in 1988. With a precise electronic backbeat, ‘Gaudete’ was taken from its 16th Century origins and thrown into the new millennium with a cheeky ‘Ice Machine’ reference for good measure.
Available on the ERASURE album ‘Snow Globe’ via Mute Artists
Whether it was a Casio, Yamaha or Roland, everyone wanted ‘A Synthesizer For Christmas’. Texan couple HYPERBUBBLE took that enduring memory and turned it into a delightful synthpop ditty that could resonate with electronic geeks from 8 to 80 the world over. Short but sweet, it was another joyous “cartoon automaton symphony” from Jess and Jeff.
If ‘Twin Peaks’ met ‘Leader Of The Pack’ under the mistletoe, it would sound like this. Possibly the best Christmas tune of the last 10 or so years, VILE ELECTRODES’ harrowing tale of a departed loved one is strangely enticing, with the beautifully haunting echoes of Julee Cruise’s ‘The Nightingale’ lingering over the frozen lake.
‘Find Peace’ was a Christmas song longing for the cold but merry winters of yesteryear under the modern day spectre of global warming, armed conflict and political tension. The off-kilter analogue buzzing and almost random sequences made for a striking listen as a frantic percussive death rattle and an emotive synth drone take hold to provide an appropriate backdrop for the eerie but beautiful voice of Hannah Peel.
Available on the HANNAH PEEL single ‘Find Peace’ via Snowflakes Christmas Singles Club
MARSHEAUX We Met Bernard Sumner At A Christmas Party Last Night (2015)
‘We Met Bernard Sumner At A Christmas Party Last Night’ was a wonderfully whispery synthpop number that was classic MARSHEAUX. The lyrics were constructed from the song and album titles of NEW ORDER to provide an imaginary narrative on Marianthi Melitsi and Sophie Sarigiannidou surreally bumping into the Manchester combo’s lead singer at a Yule Tide function.
On 1974’s ‘Kimono My House’ album, the Mael brothers recorded a song called ‘Thank God It’s Not Christmas’, a typically perverse SPARKS romp that had nothing to do as such with the holiday season. After their FFS collaboration, Russell and Ron ended the year with ‘Christmas Without A Prayer’, a fitting offering which also amusingly outlined that albums by WINGS were actually unwanted gifts.
“A twisted cover of a cover of a cover”, this synth laden reinterpretation of the tune based on a traditional Czech carol made famous by a bizarre but highly enjoyable version by David Bowie and Bing Crosby, saw former ABC stalwarts Mark White and Stephen Singleton reconvene as VICE VERSA to wax lyrical about 303s, 808s, 909s and a “shiny new Roland toy”. It was a fabulous combination of sleigh bells, squelching arpeggios and of course, drum machines…
When you’ve had enough of Christmas shopping and the in-laws, there’s probably nothing better to let off steam than a bit of ASSEMBLAGE 23. While not exactly seasonal, Tom Shear’s Futurepop discoscape captured many of the mixed emotions endemic with the final month of the year, all “Silent and alone, trying to make sense”.
Available on the ASSEMBLAGE 23 album ‘Endure’ via Metropolis
A cover of Finnish metal glamsters HANOI ROCKS, this take on ‘Dead By X-Mas’ from the nocturnal synth duo SIN COS TAN aka Juho Paalosmaa and Jori Hulkkonen came over a bit like Billy Idol gone electro, but with an elegiac twist. Bizarrely in 2006, the former William Broad issued his own collection of seasonal themed tunes entitled ‘Happy Holidays’ … it’s a nice day for a ‘White Christmas!
With female empowerment lyrics like “I don’t need any money or a new handbag, I just need a kind of thing I’ve never had, who says you have to have some shabby gifts”,FERAL FIVE attacked tacky commercialism in a sonic cacophony of crunchy bass guitar, big beats, sparkling electronics and chilling string machines for an alternative take on festivities.
Available on the FERAL FIVE single ‘I Want U’ via Primitive Light Recordings
Made famous by Greg Lake, CIRCUIT3 used analogue synths such as a Sequential Pro-One, Roland JX10, Korg Wavestation and Moog Sub37 to add an eerie chill to the already cynical song protesting at the commercialisation of Christmas. The lyricist was Peter Sinfield who later wrote the words to BUCKS FIZZ’s No1 ‘The Land Of Make Believe’ which warned against the evils of Thatcherism.
Written by Howard Blake for the 1982 animated film ‘The Snowman’ which later added a cameo intro by David Bowie, ‘Walking In The Air’ became a hit for Aled Jones although the original version was actually sung by choir boy Peter Auty. Tom Andersson is the Swedish synthesist and retro gamer known as WAVESHAPER and his symphonic instrumental synthwave cover was both respectful and beautiful.
If ACTORS did Christmas songs, then it would have probably sounded like this gothic motorik number from the ever cheerful Rodney Cromwell. Written for by Cherryade Records’ ‘A Very Cherry Christmas’ compilation, its chilling ARP synth strings and driving bass guitar was in total antithesis to Cliff Richard with bleak observational lyrics “like ‘Eleanor Rigby’ turbo-charged for 2022”.
Available on the RODNEY CROMWELL single ‘Cold Christmas’ via Happy Robots Records
SOFTWAVE featuring Barney Ashton-Bullock Will It Ever Be Christmas Again? (2022)
Presented as “Probably the first synthpop Christmas song in Danish music history”,SOFTWAVE provided a hopeful message to hold back on overindulgence. ‘Andy Bell Is Torsten’ writer Barney Ashton-Bullock made a cameo as Santa Claus to remind everyone that “Self-service, doesn’t mean self, self, self…” and that joy comes from being able to give to others.
Something of a tradition having covered ‘Walking In The Air’, ‘Lonely This Christmas’ and ‘Deck The Halls’ in previous years, Gemma Cullingford took Christina Rossetti’s poem and Gustav Holst’s musical arrangement of ‘In The Bleak Midwinter’ into darker and colder electro dance territory, reflecting today’s divided world in a cost of living crisis.
Samantha Newark is best known for her voice-over animation work for the cult classic cartoon series ‘Jem & The Holograms’. It told the story of a record company owner Jerrica Benton and her singing alter-ego Jem’s adventures in the music industry.
Although ‘Jem & The Holograms’ ended in 1988 after three seasons, the show became one of the main influences of Texan bionic bubblepunk duo HYPERBUBBLE. The married couple of Jess and Jeff DeCuir have over a series of albums and EPs since 2004 explored instrumental synth, electro country and western, pop, cover versions and soundtracks.
But for their remix of Samantha Newark’s ‘Hologram’, it is as if an artistic circle has been completed. While ‘Hologram’ originally came out as a rock ballad with piano and guitar in 2017, HYPERBUBBLE reworked the song using just the vocal stem in their own uptempo avant disco style while complimenting her superbly rousing vocal.
Although the magenta lit lyric video could be anything from the synthwave community over the past 10 years, the digital modelling is of a very high standard and suits HYPERBUBBLE’s take on ‘Hologram’ without selling its soul to Ryan Gosling.
Having moved to Nashville and released her self-titled debut album in 2008, Samantha Newark’s new album of remixes ‘Hologram 2.0’ presents a dance music version of the original ‘Hologram’ album which began as a concept album about Jem,
A love letter to the many Jem fans, Samantha Newark said “Get ready for a non-stop dance music party that reimagines the original ‘Hologram’ album into a truly outrageous dance floor of glitter and gold extravaganza”.
Traditional murder ballads being given synth makeovers are all the rage at the moment.
Irish synth songstress FEMMEPOP presented her stark rendition of ‘Tom Dooley’ just a few weeks ago. And now, Texan Bionic Bubblepunk duo HYPERBUBBLE head north to the ‘Banks Of The Ohio’, a song that originated from the 19th Century.
It tells the story of a guilty party inviting their lover for a walk during which their marriage proposal is rejected. Once they are alone, a murder is committed although much sorrow and regret later gets expressed. Perhaps surprisingly, one of the best known versions was by Olivia Newton-John and it was actually her biggest UK hit until her imperial run of singles from the movie ‘Grease’ in 1978.
‘Banks Of The Ohio’ has also been recorded by Dolly Parton, Joan Baez, Johnny Cash and Charley Pride while there have even been reinterpretations in Swedish and Czech. Updating this urban legend, HYPERBUBBLE have produced a wonderfully haunting synth cover with an eerily Gothic Theremin solo by front woman Jess DeCuir that is perfect for Halloween.
The accompanying self-directed video features zombies, graveyards and murder with our heroine playing a supernatural ghost bride while her hubby Jeff DeCuir is cast as a gravedigger. But she is searching for something! Who is in the grave??? It’s a Roland SH-01 Gaia! Is this symbolism for the death of synthpop?
Although not including ‘Banks Of The Ohio’, HYPERBUBBLE recently released an album of covers called ‘Love & Bionics’. Not content with having delivered a cosmic country covers album three years ago inspired by ‘Switched On Nashville’ called ‘Western Ware’, that put the “MOO” into Moog, Jess and Jeff DeCuir have always enjoyed adapting their style of Texan electro artpunk to a range of standards and obscurities emerging from many unexpected genres.
The most interesting electronic covers often come from outside their regular habitat, particularly from soul and country music.
The Halloween Country Goth Horror Synth of ‘Banks Of The Ohio’ is another example of HYPERBUBBLE’s fun and quirky take on music.
‘Banks Of The Ohio’ comes from the soundtrack of the forthcoming full-length HYPERBUBBLE documentary film called ‘Cowgirls & Synthesizers’
Bionic Bubblepunk duo HYPERBUBBLE feel “the world needs some love and good vibrations… and free stuff”, so have presented ‘Love & Bionics’.
Not content with having delivered a cosmic country covers album three years ago inspired by ‘Switched On Nashville’ called ‘Western Ware’ that put the “MOO” into Moog, the duo of Jess and Jeff DeCuir have turned their attention to a wider range of standards and obscurities arranged in their own style of Texan electro artpunk. They succeed in their adventure by their choice of less obvious songs getting the electronic treatment.
After all, does the world really need any more modern synth reinterpretations of DEPECHE MODE, YAZOO and ULTRAVOX? But even when HYPERBUBBLE cover songs readily accepted as being of a more synthpop bent, they give them their own twist. Album opener ‘Pop Goes the World’ which was originally by MEN WITHOUT HATS gets new lyrics to introduce the duo by way of a musical manifesto. Meanwhile DEAD OR ALIVE’s ‘You Spin Me Round (Like A Record)’ is given a sombre minimal synth and vocoder treatment at half the speed which surprisingly works!
‘Theme from Shaft’ is an unexpected delight with the tune’s familiar wah-wah guitar motif transferred to bleepy sequences while the orchestrated parts are brilliantly reconfigured with synths. Then there’s a hilarious robopop take on VAN HALEN’s ‘Jamie’s Cryin’ with spoken word segments and yes, synth solos!
‘Tiny Alice’ by lesser known Michigan singer / songwriter Paul Parrish is given an acapella arrangement which sounds like the beginning of DARTS’ cover of ‘Boy From New York City’ while ‘Starship 109’ which was originally a single by the obscure Dutch fusion combo MISTRAL acts as a suitably spacey interlude between the two halves of the album.
The enjoyment factor of ‘You’re the One That I Want’ will be down to individual taste, but this lively post-modern take sums up the light-hearted irreverent nature of HYPERBUBBLE. But best of all though is a charming instrumental version of ‘Sugar Sugar’, which in some ways recalls the style of Gil Trythall’s ‘Switched On Nashville’ album.
Covering music from new wave, heavy rock, exotica, soul, folk and film, ‘Love & Bionics’ is fun and free. Love or loathe, it’s a lesson to others as to how to think outside of the box when it comes to doing cover versions using synths.
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