Beyoncé sings about girls ruling the world while Katy Perry, Miley Cyrus and Taylor Swift describe themselves as feminists. Many artists today prefer employing all-girl backing bands.
Going into more arty electronica, GRIMES vehemently refuses to share any part of her music production with anyone who isn’t female. She would rather go without the men’s help. But it is reported that less than 5% of record producers and engineers are female, and those who are, are paid respectively less than their male counterparts. Still, many of the mainstream artists shout about feminism in music, yet behind the scenes their output is largely manufactured by the historical bread winner.
Taylor Swift happily gave a moving speech about being yourself and not letting anyone stifle you in your musical pursuits, yet the producers behind her were all male. Expectedly, her speech would lack any veracity and everyone from Madonna to Nicky Minaj will go back to their studios and work with mostly male teams. That’s where FEMALE FREQUENCY come in.
The idea to empower women to write, mix, produce their own music, to market it, to perform it, to be thoroughly responsible for every aspect of the musical journey and to do it all in a girl only environment is what the collective is advocating. It’s not about a straight forward penis embargo for the sake of being awkward; it’s about fighting for equality in an industry, which still seems to treat women as not as worthy as their male counterparts.
ELECTRICITYCLUB.CO.UK chatted to FEMALE FREQUENCY about the project and how it aims to influence women to take the reins of all aspect of music making.
What prompted the establishment of FEMALE FREQUENCY?
In the spring of 2015, Dani Mari was looking for a female producer to work with on her next album. In her search, she realized there are very few female producers and audio engineers. She connected with producer Julie Kathryn (aka I AM SNOW ANGEL) through the NYC-based organization WOMEN IN MUSIC, and they quickly developed the idea of creating a collaborative album that is entirely female-generated, with all writing, performance, instrumentation, production, mixing and mastering being carried out by women only. Claire London joined the group within the next few weeks, and we immediately got to work planning the project!
Do you believe that self-sufficient female artists like GRIMES or yourselves are the future of music?
We hope so! It’s very satisfying and empowering to be involved in the entire process of making music, from start to finish.
Do you consider the male dominated music industry an unnatural coincidence or an assumption that men are better at production?
It seems like a self-perpetuating cycle: because so few women are involved in production, girls don’t have a lot of role female models and are therefore less likely to pursue engineering, production and the other technical elements of recording music. All of this is changing now, and we’re very excited to be part of this change by raising the visibility of women across all aspects of the music industry.
How do you think WOMEN IN MUSIC and your collective translates into the music industry?
Again, we hope that, as more women become known as producers and engineers, the industry will become more balanced and not as male-dominated.
Was the creation of all-female album a challenge?
Like any album, we ran into minor creative challenges and roadblocks. But for the most part, the process flowed smoothly and was a lot of fun. Working together was inspiring, and we brought on a bunch of other talented female musicians and engineers to support the process.
Aren’t you concerned with anti-feminist attitudes your collective may attract?
No, not really. We’re very proud of what we’ve accomplished, and we’ve gotten so much support and positive feedback from people so far. Our goal isn’t to please everyone; it’s to create something that will inspire women and girls to follow their musical aspirations, whatever those might be.
Photo by Shervin Lainez
With electronic music, there is still shortage of all-girl bands who work the equipment and tinkle with synths. Do you think the genre is too complicated to embrace?
Well it’s definitely not any more complicated for women than it is for men!
Again, the scarcity of visible female producers probably plays a part in women not pursuing these more technical aspects. We think this imbalance will definitely change in the years to come.
Have you got any plans to introduce the concept in Europe?
Luckily, in this wonderful age of the internet, we’ve been able to virtually connect with women from all over the world, not just here in the US. There are also some amazing women’s groups already at play in Europe, including female:pressure, which is a very powerful collective aimed at raising the visibility of female producer, engineers and DJs.
Do you feel any affinity with the Norwegian based female creative collective KOSO?
Yes! They’re another great group, and totally in line with what we’re doing! Women from all over the world are creating these types of collectives, because there’s a real need for support and empowerment. It’s exciting to be part of this movement.
What advice would you give to female musicians all over the world?
Don’t be afraid to step outside your comfort zone and challenge the status quo!
Photo by Charlie Gross
The classic combo in an electronic band is the male doing the production and the female singing and looking pretty. Is that the sort of cliché you’re trying to kill off?
We have no problem with any combination of musicians working together, male or female!
However, we would like female artists to know, if they are interested in producing / engineering / DJing, that we are just as well suited to it as our male counterparts.
What’s next for FEMALE FREQUENCY?
Our first single, a slow-downed xx-inspired cover of Dolly Parton’s classic song ‘9 to 5’, is out now. Over the next several months, we’ll release tracks from our first EP, ‘Female Frequency Volume 1’, along with some awesome remixes by female producers. We also hold ongoing workshops and events for women in music. Information about all of this can be found at femalefrequency.com and on our social media.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to FEMALE FREQUENCY
The 1980 Winter Olympics took place in beautifully picturesque setting of Lake Placid, a small village amidst Adirondack Mountains in New York State.
It is fitting that an ice maiden Julie Kathryn, who was born and bred in the very place, would call herself I AM SNOW ANGEL and would start experimenting with chilling auras of electronica as her preferred genre of choice. Having relocated to the Big Apple’s Brooklyn, she released her first self-titled EP, which heralded a change of direction for the previously folk interested artist.
The electronica experiment worked to such an extent, that Kathryn became “basically addicted to writing and producing music in this genre”. As the transition was purely organic, with I AM SNOW ANGEL starting to become a self-sufficient artist: writing, producing and engineering her own records, she also embarked on co-founding FEMALE FREQUENCY, a musical collective dedicated to empowering female musicians.
Her first long player ‘Crocodile’ was fantasy inspired, centring around the “predator and prey”, bearing gentle resemblance to Kathryn’s heroes, THE POSTAL SERVICE and paying homage to the classic Americana artist BRUCE SPRINGSTEEN amongst other influences. Sometimes described as appealing to the fans of Enya, Imogen Heap or Kate Bush, I AM SNOW ANGEL has developed her own sound, using her personal electronic template of icy landscapes and cold melancholy.
‘Desert’ is her newest EP, where Kathryn is “continuing to explore the subtle complexities of desire, passion and longing”. The announcement of warmer things to come heralds itself in the title track opening the sequence, an inspired atmospheric rendition with enhanced vocals, which I AM SNOW ANGEL describes as “part of the aesthetic” of synth music.
‘Fever’ certainly isn’t evocative of the snowy mountains of upstate New York, which itself announces a departure from the gloom of the cold and icy in favour of breezy and fresh, as if released from the chains of winter. “Body’s on fire but she shivers with the heat” nods to vintage ERASURE in the slightest of fashions, being über modern and sophisticated.
‘Keep You Out’ opens with a country-esque guitar sequel, giving homage to Kathryn’s roots. A slower paced, eerie number at first, bursts into a club ending, before ‘Dirty Love’; a SOUL II SOUL meets SNEAKER PIMPS style shines through this varied track.
The EP closes with ‘Losing Face’, which is a BJORK sounding story of desire, culminating in sensual sexual encounters, designed to prove “something I can believe in”, and instead leaving one empty and guilty.
The eclectic nature of the music of I AM SNOW ANGEL is staggering. She owns the writing, production and engineering process, much like GRIMES, and is a pioneer when it comes to helping women make their own tunes, whatever genre they may be.
The progression into synthscapes was something that happened naturally and Kathryn’s fans are truly grateful that the experiment wasn’t just a one-off. She was, after all, made to give life to the melancholy of electro. The style of electronica infused with country roots, creates an amalgamation difficult to resist and whether it’s the snowy Adirondack Mountains, or the heat of the “Desert”, I AM SNOW ANGEL shows off her brilliance and delivers.
The ‘Desert’ EP is available as a download from 20th May 2016 via the usual digital outlets
The Adirondack Mountains in Lake Placid is at the heart of the beautifully gentle soundtrack of I AM SNOW ANGEL.
The self-produced vehicle of the now Brooklyn based singer / songwriter Julie Kathryn, despite the sedate nature of her debut long player ‘Crocodile’, the mix of electronica and Americana Noir has been quietly subversive… after all, it’s not every day someone attempts a countrified drum ‘n’ bass cover of Bruce Sprinsteen’s ‘I’m On Fire’!
But I AM SNOW ANGEL has not just been about off-the-wall reinterpretations.
From her self-titled debut EP, ‘Let Me Go’ was a Nordic styled tour de force that was rich in understatement and swathed in melancholy. Album highlight ‘Come With Me’ reimagined THE CARPENTERS produced by William Orbit while there was also the gentle vibey shuffle of ‘Fallen Angel’ and the more overtly percussive electro / Country + Western hybrid of ‘Turquoise Blue’. Then there was of course, the marvellously dreamy ‘Crocodile’ title track which was released as the album’s lead single.
Although comparable to Imogen Heap, I AM SNOW ANGEL’s template is quite distinct from most electronic based pop music. Julie Kathyrn kindly spoke to ELECTRICITYCLUB.CO.UK about her musical world of icy landscapes and crystalline hydro basins…
Your musical roots have been in Americana Noir, so what led you want to work in a more electronic sphere?
It actually happened organically. A few people had encouraged me to start producing my own tracks. When I did, they turned out much more electronic than anything I had done in the past.
Were the any particular acts that influenced you in this direction?
I was definitely influenced by THE POSTAL SERVICE. ‘Give Up’ is one of my favorite albums. The songwriting and the production are amazing. There were also a handful of semi-electronic artists I was listening to when I recorded this album — including PHOSPHORESCENT and THE XX.
How has the technology changed your approach to composition?
Sometimes I still write with just a guitar or keyboard. But now I often begin songs with the programming first, and then let the lyrics and melody develop as part of the production process. It’s been fun to mix it up.
What types of VST have you particularly enjoyed using?
On the ‘Crocodile’ record we definitely used a lot of plugins. Sound Toys Echo Boy and Air Vintage Filter are two favorites.
You use vocal processing treatments too. What would you say to observers who say singers should keep their voices pure and free from things like Autotune?
With this type of music, I think processing is part of the aesthetic. For example, I really like “glitchy” sounding backing vocals — especially when they’re understated, almost like instrument sounds. I’m not sure what I would say to people who are anti-processing. To each his own!
Despite the use of electronics, your music still maintains a distinctive American twang for a unique and quietly subversive sound… have you any thoughts on this?
I was raised in Lake Placid, which is in Northern New York. It’s a rural area, in the mountains. I grew up singing folk music. I can’t erase my country roots, even though my sensibilities have changed since then. Musically I’m kind of a hybrid.
When you first appeared as I AM SNOW ANGEL with the self-titled EP, it appeared to possibly be a one-off experiment? Was that how you saw it?
I wasn’t sure what would happen. Yes, it was kind of an experiment, but I quickly became really invested in it. And now I’m basically addicted to writing and producing music in this genre.
‘Let Me Go’ from your first EP could be interpreted in many ways, do you think it suited a more synthetic treatment than perhaps a traditional one?
Well it’s actually a spiritually oriented song, as you might have gathered from the lyrics. I wrote it as more of a hymn, but to my surprise the electronic production worked really well. It feels very wintry and ethereal.
With artists moving more towards recording EPs, what inspired you to undertake a full length album?
I had a lot of songs and I really wanted to put them out there. And I liked the idea of creating a longer narrative.
The album is called ‘Crocodile’, why is that and what is the title track about?
I wanted to explore the dynamic between predator and prey. There aren’t many songs about this. On the surface I was describing a crocodile stalking its prey, but I meant this as a metaphor. At the end of the day, I think humans are basically governed by animal instincts, even though we pretend to be logical and reasonable. For me this song felt like the right opening track for the album — ethereal, breezy, otherworldly.
‘Walking On Wires’ has hints of THE POSTAL SERVICE?
Yes! Especially the percussion and the fuzzy bass sounds, and the subdued, under-emotional vocal delivery.
What are your own favourite songs on ‘Crocodile’?
‘Fantasy Fiction’ is definitely one of my favorites. I feel very connected to the song’s dynamic build and rhythm. I also like ‘Walking On Wires’. I really pushed myself musically, and I’m happy with how it turned out.
To close ‘Crocodile’, you covered Bruce Springsteen’s ‘I’m On Fire’ in an esoteric drum ’n’ bass style. How did this idea come about and what has the general reaction been to it, especially in the US where some synthobic attitudes still exist?
I think people like it! The original song is so eerie and organic — one of my favorite tracks of all time. Mine is definitely very different from the original, but I think that’s a good thing — it’s a devoted re-interpretation, not necessarily an imitation.
Of course, people tend to forget that The Boss’ ‘Born In the USA’ and ‘Tunnel Of Love’ albums are in their own ways, quite synthy…
That’s so true! He’s considered to be very rootsy / Americana now, but he had plenty of electronic sounds in his music in the 80s.
So what’s next for you, either as Julie or I AM SNOW ANGEL?
I’m recording more I AM SNOW ANGEL tracks right now, actually. I can’t wait to share them with you. And thank you for chatting with me!
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Julie Kathyrn
With a less intense release schedule than last year, it was a bit more straightforward to choose the songs of 2014.
Whereas 2013 had a short list of 45 songs, 2014 was closer to 35 although not the struggle to find 30 as was the case in 2012. So just missing out are CLIENT, KLEERUP and ToddTerje featuring Bryan Ferry, although not by much.
As usual, they are listed in alphabetical order and all have been released either in physical formats, or digitally as purchasable or free downloads during the calendar year. Thus although the excellent video for LIEBE’s ‘I Believe In You’ gained traction on MTV Europe in 2014, the song was actually released in 2013.
Tracks which are exclusive to streams, videos or DJ only promos are also not included; so QUIETER THAN SPIDERS ‘The Land Of Lost Content’ is not eligible. Limited to one song per artist moniker, here are the 30 Songs of 2014…
ANALOG ANGEL The Last Time
The transformation of Glaswegians ANALOG ANGEL in the last 18 months has been startling. From their third album ‘Trinity’, its closer ‘The Last Time’ was a big surprise, featuring a cinematic arrangement involving an orchestra cascading into an epic Pan-European journey heading eastwards. Recalling THE SISTERS OF MERCY’s ‘This Corrosion’, the virtual symphonic strings and gothic choirs gave an indication as to what OMD might have sounded like if Jim Steinman had been producing!
‘Scream’ launched Margaret Berger’s first album ‘New Religion’ since 2006’s ‘Pretty Scary Silver Fairy’ although as yet, the new opus has yet to emerge. The Norwegian Idol finalist effectively revived her career with ‘I Feed You My Love’ which came fourth in Eurovision 2013. ‘Scream’ saw her continuing the Robyn meets DEPECHE MODE template of her Eurovision smash and possessed an inherent industrialised darkness in an approach to quality pop that set itself apart.
Available as a download single via iTunes Norway through Macho Records
The original first lady of cinematic electronic pop surprised everyone when she appeared on the cover of her third album ‘Where Else…’ with a guitar strapped to her back. But while the record had a folk and blues influence, the synthesized textures that Ms Brücken has been best known for were still very much part of the package. The launch single ‘Nevermind’ could be seen as a musical reply to OMD’s ‘Stay With Me’. A lovely mix of electronics and acoustic, she appears to be driven by a new artistic zest.
Available on the album ‘Where Else…’ via Cherry Red Records
DAVIDGE is best known for his work with MASSIVE ATTACK and has been involved in game and film soundtracks for many years. His first solo album ‘Slo Light’ was an impressive debut, containing many of the elements that marked his work with the Bristolian triphoppers. ‘Sleepwalking’ was a haunting number beautifully voiced by Eim Green which recalled the ethereal quality of COCTEAU TWINS’ Elizabeth Fraser and the electronically assisted Weimer Cabaret of ‘Felt Mountain’ era GOLDFRAPP.
Available on the album ‘Slo Light’ via 7Hz Recordings
Following the disappointment of 2011’s FRANKMUSIK driven ‘Tomorrow’s World’, ‘The Violet Flame’ produced by Richard X saw ERASURE express an infectious zest for the future. The songs began with pre-recorded dance grooves from Vince Clarke as represented by the euphoric opening track ‘Dead Of Night’. The best number from the package turned out to be a ballad remixed by Paul Humphreys who added some of the beautiful Synth-Werk magic that characterised OMD’s ‘English Electric’ to ‘Be The One’.
Available on the boxed set edition of ‘The Violet Flame’ via Mute Artists / Pledge Music
Released in time for their DEPECHE MODE support tour in Europe, ‘Wild Love’ was far more dance-oriented than anything FEATHERS attempted on their debut album ‘If All Now Here’. While a heavy beat dominated, the essential component of a song remained, building to a suitably epic chorus providing that euphoric lift. The gated trance elements in the second chorus were a particular highlight, especially when backed by a screeching falsetto counterpoint. But just as it got going, it faded out!
The moniker of Elizabeth Bernholz, GAZELLE TWIN has acquired an impressive host of admirers including John Foxx, Gary Numan and Clint Mansell. Her second album ‘Unflesh’ has allowed the Brighton based songstress to extract her demons with some artistic violence. One of the highlights ‘Exorcise’ was an impressively aggressive cross between PINK FLOYD’s ‘One The Run’ and KRAFTWERK’s ‘Home Computer’. Its uneasy resonance was aided by Bernholz’s harsh, deadpan commentary.
Available on the album ‘Unflesh’ via Anti-Ghost Moon Ray
This mysterious combo with their lo-fi noise and motorik beats have revealed a series of energetic singles over the past two years including ‘Jessica 6’, a frantic salvo sounding like THE PIPETTES fronting an OMD assisted JOY DIVISION. But GIRL ONE & THE GREASE GUNS revealed a much softer side with ‘No Longer Spellbound’. With its beautiful atmospheric quality smothered in icy synth strings and grainy vox samples, if ‘Twins Peaks’ had been set in The Lake District, then the theme tune might sound a like this.
Available on the download EP ‘No Longer Spellbound’ via Squirrel Records
HERCULES & LOVE AFFAIR feat JOHN GRANT I Try To Talk To You
Imagine Jim Morrison getting it on down at The Danceteria circa 1982! ‘I Try To Talk To You’ featuring the expansive baritone vocals of John Grant combined the best of classic New York electro disco and grand piano theatrics with an emotively soulful vocal. The courageous lyrics found Grant recalling when he discovered he was HIV positive. “I asked John to dig deep with his lyrical contribution” recalls HERCULES & LOVE AFFAIR mainman Andy Butler, “I had no idea he would dig so deep”.
Available on the album ‘The Feast Of The Broken Heart’ via Moshi Moshi
‘I Can’t Figure You Out’ sounds like another product of Scandinavia but in fact, HUGH hail from South London. The captivating, naive lead vocal from Izzy Brooks states “you know just how I feel” as she makes handle with care pleas like “don’t toy with me” and “careful with my heart” while the intensity builds like a pressure cooker. And this is all before a time signature change and some frustrating despair is released with her spirited jazzy refrain of “No, I can’t figure you out!” Now, who hasn’t been here before?
Available on the download EP ‘I Can’t Figure You Out’ via Hughlovehugh
IAMAMIWHOAMI, the electronic multimedia project fronted by Jonna Lee and produced by Claes Björklund returned with their second opus ‘Blue’. ‘Hunting For Pearls’ featured wonderfully pulsing sequences and trancey atmospheres, coupled with a beautifully rich vocal from Lee. With a mysterious falsetto reach, the air may be cold outside but inside, things are warm. If Kate Bush made a modern electronic dance record at ABBA’s Polar Studios, it would probably sound like this.
Available on the album ‘Blue’ via towhomitmayconcern
Deep from within the Adirondack Mountains comes the beautifully gentle electronica of I AM SNOW ANGEL. The self-produced vehicle of singer / songwriter Julie Kathryn, the music evokes images of icy landscapes and crystalline hydro basins. The best track from her debut EP, ‘Let Me Go’ is rich in understatement and a Nordic styled tour de force swathed in melancholy, full of dreamy escapism. The full length album ‘Crocodile’ released in the Autumn did not disappoint either with its quietly subversive nature.
Available on the download EP ‘I Am Snow Angel’ via Amazon
With a breathier, more continental direction towards cinematic pop, The Kid effectively grew up with her second album ‘1888’. KID MOXIE’s widescreen soundscapes and dreamy demeanour saw a much more focussed work. ‘Lacuna’ means “an empty space” yet this song is filled with an enigmatic mystery as Elena Charbila applied some of the je nais se quoi first piloted on 2008’s ‘La Romance D’Hiver’ to the drifting, almost abstract electronic soundscape… and then there’s the pretty isolated piano ending!
Available on the download album ‘1888’ via Undo Records
Having delivered one of the best synth based debut albums in recent years, any new Kleerup recording now lives with a high degree of expectation. ‘Let Me In’ featuring Susanne Sundfør, who voiced several tracks on RÖYKSOPP’s ‘The Inevitable End’ album, came over like Karin Park if she had joined latter day ROXY MUSIC. Retaining the original appeal of Kleerup’s debut, ‘Let Me In’ was brilliantly classic and yet modern with its more organic template and even funky template.
Available on the download EP ‘As If We Never Won’ via Warner Music
MACHINISTA’s pairing of John Lindqwister and Richard Flow specialise in synthpop with a rock’n’roll edge. Their best offering from their debut album ‘Xenoglossy’ was the schaffel propelled ‘Pushing The Angels Astray’. Despite discussing the spectre of immortality, the sombre aura was balanced with a marvellous melodic line and fabulous chorus like ALPHAVILLE in their prime. The Nordic region continually shows how electronic music is done and many could do a lot worse than to observe how MACHINISTA go about their craft.
Available on the download album ‘Xenoglossy’ via Juggernaut Music Group
Released in the week of the Scottish Independence Referendum, MARNIE’s ‘Wolves’ was an appropriately soaring anthem “for anyone that doesn’t believe in sticking with the status quo, for anyone who has the heart to try and make a difference”. Certainly, the positive response she received for her debut long player ‘Crystal World’ and a return to her homeland has no doubt inspired her own independence. But with MARNIE due to release a second solo album in 2015, what does this all mean for LADYTRON?
Available as a download single via Les Disques du Crépuscule
‘Trans Europe Express’ 21st Century style as Belgium’s favourite passengers METROLAND embarked on a maroon coloured rail journey through France and Germany via the Benelux basin on ‘Thalys’. The full length 11 minute version rhythmitised metal on metal while there were also London, Paris and Düsseldorf edits in this musical tie-in with the Thalys high speed train operator.
Available on the download EP ‘Thalys (London)’ via Alfa Matrix
Frisky vocalist Emily Kavanaugh and moody producer Mark Brooks began writing songs as NIGHT CLUB with the goal of creating dark – yet commercially accessible – synthpop. Developing on the Britney gone electro goth sound of their glorious 2013 single ‘Poisonous’, ‘She Wants To Play With Fire’ treaded on the darker, sleazy side of life and dysfunctional relationships with Kavanaugh out to take on her demented love rival.
Available on the download EP ‘Black Leather Heart’ via Gato Blanco
Issued as a trailer for her new album ‘Apocalypse Pop’, ‘Look What You’ve Done’ is a feisty development of ‘Restless’ from Karin Park’s previous album ‘Highwire Poetry’. Wrestling within a fiery glam schaffel and a catchy chorus like an angry GOLDFRAPP, with THE KNIFE venturing into more uncompromising climes, the ‘other’ Karin ably fills the void now left vacant by the Drejers in avant pop. ‘Look What You’ve Done’ is a fine example of the Swede’s ambition to fit into both pop and experimental worlds.
Available as a download single via State Of The Eye Recordings
With LITTLE BOOTS having gone dance and LA ROUX veering away from synthpop, there is now a vacancy for a new kooky homegrown female synth talent. One of the possible candidates is PAWWS, otherwise known on her passport as Lucy Taylor. She has labelled her music “upsetting disco” and ‘Give You Love’ lives up to that description. Certainly those who prefer their music with rough edges and are averse to female fronted synthpop will have their touch paper lit even further with this exquisite pop number.
Available on the download EP ‘Sugar’ via Best Fit Recordings
Since playing with John Foxx, Hannah Peel’s own music has used more electronics alongside her beloved violin, musicbox, piano and trombone. ‘Fabricstate’ starts as a beautiful understated number before being bolstered by an unexpected but amazing whirring synth solo around a series of percussive clusters. When the warmth of the synthesizer is exploited and coupled with a classically trained background, the hybrid can result in a quietly subversive organic and technological fusion.
Available on the download EP ‘Fabricstate’ via My Own Pleasure
One musician taking electronic music into some intriguing fusions is Beijing born Fifi Rong. ‘Next Pursuit’ crosses the vocal mystery of Kelli Ali and the quirkiness of MOLOKO while throwing in a touch of Lana Del Rey and MAZZY STAR too. Crucially, the intriguingly soulful ‘Next Pursuit’ also adds in rhythmical variation as the rhythms click into action during the higher register vocal refrains while the verses are held together with a smokey allure.
Available on the download EP ‘Next Pursuit’ via Ditto Music
ROBYN & RÖYKSOPP Monument (The Inevitable End Version)
Edited and rethought for ‘The Inevitable End’ album, ‘Monument’ was originally a spacey 10 minute epic now tightened to a more bite size and dare one say it, more enjoyable format sans saxophone over a hypnotic two chord structure. As usual, Robyn’s vocals are edgy and nonchalant while RÖYKSOPP’s electronic soundtrack ably hit the spot with its energized octave-jumping bassline.
Available on the album ‘The Inevitable End’ via Dog Triumph / Cooking Vinyl
With their third album in as many years, Finnish duo SIN COS TAN went the concept album route for ‘Blown Away’, a midlife crisis story of a man who becomes a drug courier and goes on a journey of excess, fast money and hedonism. First single ‘Love Sees No Colour’ dressed NEW ORDER’s love technique in an OMD stylee with the result being a kaleidoscopic tune that managed to mix sunshine with melancholy.
Available on the album ‘Blown Away’ via Solina Records
The Nordic vocalist of the moment has to be Susanne Sundfør who has worked with M83 and Kleerup. But she is probably best known for her work with fellow Norwegians RÖYKSOPP. Propelled by a pulsing electronic backbone, ‘Fade Away’ from Sundfør’s forthcoming album ‘Ten Love Songs’ sees her in rousing form with a tune that at times sounds almost like Scandinavian gospel. Meanwhile, a fabulous synth solo gets thrown into the bargain too.
Available as a download single via Sonnet Sound / Kobalt
One act establishing themselves in 2014 were TRUST from Toronto. Led by the polarising “Eeyore gone goth” moodiness of Robert Alfons, the ironically titled ‘Joyland’ was a excellent second album that captured the sleazy nature of a 21st Century SOFT CELL and attached it to the grumpiness of LEONARD COHEN. ‘Peer Pressure’ was a frantic but funky uptempo number featuring Alfon’s trademark vocal pitch shift technique that proved misery and dancing could actually go together.
Available on the album ‘Joyland’ via Arts & Crafts
Touchingly melancholic with classic Weimar Cabaret melodies and vibrant Kling Klang interplay, TWINS NATALIA conjured up memories of holiday romances with pretty German frauleins and flirty French mademoiselles. Debut long player ‘The Destiny Room’ was many years in the making and did not disappoint. With the PET SHOP BOYS styled neo-orchestrated statement of ‘Set Love Free’, the song theatrically climaxed like a pomped up ‘Rent’ as a wonderful slice of joie de vivre to finish the main act.
Available on the album ‘The Destiny Room’ via Anna Logue Records
While the romantically uptempo ‘Become’ was inevitably the focal point of Midge Ure’s ‘Fragile’ album, there were other songs that were easily its equal. The most notable of these was ‘Dark, Dark Night’, an online collaboration with Moby. Though derived from ‘Rockets’ on Moby’s ‘Destroyed’ opus, Ure exploited the original’s rich symphonic string sounds and chilled vibes. Building to an amazing climax with melodic screeches and a tremendous guitar solo from Ure, this was a partnership made in heaven.
Available on the album ‘Fragile’ via Hypertension Music
VILE ELECTRODES capitalised on their profile from supporting OMD’s German tour in 2013 by snaring prestigious Schallwelle Awards for Best International Act and Best International Album for their debut ‘The future through a lens’. ‘Pandora’s Box’ was an excellent previously unreleased song full of wobbling analogue vigour that initially came with the lavish ‘Pack Of Wolves’ three CD package and set the scene for a much anticipated follow-up long player.
WRANGLER’s manifesto is to harness “lost technology to make new themes for the modern world”. And their signature track is ‘Lava Land’, a superb cross between CABARET VOLTAIRE and prime ‘Metamatic’ era John Foxx but with a modern twist. Stephen Mallinder’s voice manipulations range from demonic gargoyle to stern drowning robot. The frantic pace is strangely danceable, but the mood is distinctly unsettling and dystopian when the screeching steam powered Logan string machine kicks in.
Hot on the heels of IAMAMWHOAMI’s album ‘Blue’ comes the debut long player from I AM SNOW ANGEL.
The project of Brooklyn based singer / songwriter Julie Kathryn, ‘Crocodile’ is a lush sounding affair and could easily be mistaken as a product of Scandinavia and her sisters were it not for her distinctly Trans-Atlantic drawl. Originally from the Adirondack Mountains in Lake Placid which hosted the 1980 Winter Olympics, it is therefore not surprising that I AM SNOW ANGEL’s music evokes images of icy landscapes and crystalline hydro basins, but with a North American twist.
Her debut ‘I Am Snow Angel EP’ contained enticingly understated numbers like ‘Grey White December’ and ‘Let Me Go’ which showcased her dreamy, whispery world but these are absent from the ‘Crocodile’ album. Instead, there are nine new recordings where Kathryn attempts to “zero into the deep-rooted struggle between our animal instincts and human reasoning”. It all begins wonderfully with the title track, a beautifully layered synthetic piece given a twist via an almost countrified vocal, drawing on Julie Kathryn’s roots within Americana Noir.
The Americana Noir link is enhanced further on ‘Falling In Love’, a pretty duet with John Carlson. The 6/8 sway of ‘Night Time’ is positively anthemic with a good blend of synthetic and organic textures that inevitably points towards the soundtracks of Angelo Badalamenti for David Lynch. The swirly influence of William Orbit makes its Modern Style presence felt on the pretty waltz of ‘Come With Me’. At times, it veers close to being a Nordic styled reimagining of THE CARPENTERS and this only highlights the strength of Julie Kathryn’s rich vocals.
The artist I AM SNOW ANGEL can perhaps be most compared to is Imogen Heap, in that traditional song elements are set to varying tempos and expansive textures sourced from whatever technology can offer to achieve the desired result.
This approach is evident in songs such as the gentle vibey shuffle of ‘Fallen Angel’ and the more overtly percussive electro / Country + Western hybrid of ‘Turquoise Blue’. Then there is the more frantic surprise of ‘Walking On Wires’ which recalls THE POSTAL SERVICE and the building drum driven ‘Fantasy Fiction’. But just when you think there can be no more surprises, out pops a drum ‘n’ bass take of Bruce Springsteen’s ‘I’m On Fire’ to finish!
I AM SNOW ANGEL’s template is quite distinct from most electronic based music and her sophisticated self-produced work is ideal listening as the world’s evenings get darker and the air gets that little bit cooler. Quietly subversive, it certainly delivers the unexpected.
‘Crocodile’ is available via Amazon, iTunes and the usual digital outlets
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is available as a download from 20th May 2016 via the usual digital outlets
and the 
are available via Amazon, iTunes and the usual digital outlets
is a lush sounding affair and could easily be mistaken as a product of Scandinavia and her sisters were it not for her distinctly Trans-Atlantic drawl. Originally from the Adirondack Mountains in Lake Placid which hosted the 1980 Winter Olympics, it is therefore not surprising that I AM SNOW ANGEL’s music evokes images of icy landscapes and crystalline hydro basins, but with a North American twist.
contained enticingly understated numbers like ‘Grey White December’ and ‘Let Me Go’ which showcased her dreamy, whispery world but these are absent from the ‘Crocodile’ album. Instead, there are nine new recordings where Kathryn attempts to “zero into the deep-rooted struggle between our animal instincts and human reasoning”. It all begins wonderfully with the title track, a beautifully layered synthetic piece given a twist via an almost countrified vocal, drawing on Julie Kathryn’s roots within Americana Noir.
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