What could possibly beat ‘Metanoia’ or its Addendum? What could further elevate Chris Corner aka IAMX to higher heights? ‘Unfall’ can…
The once retiring SNEAKER PIMPS brain, reinvented himself into the innovative, inspiring, unusual, unforgettable and adventurous and he’s done it over and over, since the debut ‘Kiss & Swallow’. With every subsequent release, the now LA based, sound magician, proved that electronic music can wear many outfits and parade all colours; not just the black.
Instrumental albums have been flowing in nicely as of late within the genre, with many of Corner’s colleagues excelling with their messages conveyed over “no words, just music” provisions, notably Norway’s finest APOPTYGMA BERZERK, UK veterans BLANCMANGE or the artier GAZELLE TWIN to name a few.
Of course, voice free releases can be tricky and may come across as self-indulgent, difficult to grasp expressions, but with so many artists now deciding to air their political views over endless crises, US presidential elections or Brexit, it’s actually quite refreshing to seek your own inspirations deduced from rawer forms.
Still, ‘Unfall’ isn’t totally stripped of vocal. It’s not bare of emotion; it’s IAMX at his finest, basking in the LA sun, with an occasional shadow and thoughtful moods, particularly showcased in the quite beautiful ‘Polar I’. Gentle piano, analogue synth, iridescent samples and glittering melody droplets, create an unforgettable experience of electronic calm.
As the opener, ‘Little Deaths’ proceeds to set the mood to minimal techno analogue style, or at least that’s what one is to think to expect. ‘Teddy Lion’ invites to a drug induced dance, with its haunting rhythms and the club feel, dropping suddenly onto the demure ‘11.11’. Corner has certainly studied Alan Wilder’s style of production here; here go the fulfilling noises, gratifying voices, haunting expressions and meaningful pitch changes.
Corner opens his ‘The Noise Cabinet’ in a gritty, rough manner, exposing the possibilities to experience your own paradigms and create your individual ‘Hysteria’. This could have been a ‘Metanoia’ track, had it had an adequate lyrical content. ‘Trust The Machine’ translates itself into the mechanical, machine style paraphrase of reality, inspired by the early DEPECHE MODE instrumentals. The Machine brings the noise, the noise brings feelings, the feelings are plentiful, the journey is complete. Sounding a bit like the raw works of THROBBING GRISTLE or EINSTÜRZENDE NEUBAUTEN, ‘TickTickTick’ awakens the primal electronic machine once more: how necessary, how very now.
One cannot “shake the disease” that is ‘The Disease To Please’; Corner’s disease is to please, particularly in the closing ‘Windschatten’. Like droplets of lead over liquid surface, like steam roller over the clouded sky, like a butterfly trapped in tartar; who can deduce the meanings? What’s the answer?
Yes, experimental albums are very difficult to embrace. Are they “the rub rub” on the artist’s ego? Are they a mish-mash of noises that are to mean nothing? Maybe with some they are. Not with IAMX. Corner inspires, transpires, transfixes and leads forward; evolves. Go ahead, build your own ‘Unfall’, create your own image, make it yours… the all the necessary tools are there, grab them!
Gary Numan may have promised “just more of the same really, if I’m totally honest” with his new album ‘Savage (Songs from a Broken World)’, but launch single ‘My Name Is Ruin’ is a mighty and brilliant first salvo.
While ‘My Name Is Ruin’ does borrow heavily from ‘Love Hurt Bleed’, one of the highlights from ‘Splinter’, it features several interesting musical directions. Guitars are less obviously prominent and the Middle Eastern flavoured backing is more hauntingly electronic.
Meanwhile the song features vocals from Numan’s daughter Persia which add a distinctly ghostly edge to proceedings. She even makes an appearance in the superbly panoramic post-apocalyptic video filmed in the Californian dessert; it was directed, shot and edited by Chris Corner aka IAMX.
When Gary Numan spoke to ELECTRICITYCLUB.CO.UK in early 2016 to launch the Pledge Music campaign for what has now become ‘Savage’, he said: “I want it to be heavy, I want it to be electronic, I want it to be dark and aggressive in places… so that’s just described ‘Splinter’”.
But if Numan’s twentieth album gets the acclaim and reception of its predecessor, it will be another fine achievement to add to the Ivor Novello Award he has already received in 2017
Cardiff Tramshed (30th September), Bournemouth O2 Academy (2nd October), Leeds O2 Academy (3rd October), Bristol Colston Hall (5th October), Oxford O2 Academy (6th October), Nottingham Rock City (7th October), Newcastle O2 Academy (9th October), Glasgow O2 ABC (10th October), Birmingham O2 Institute (11th October), Manchester Academy (13th October), Brixton O2 Academy (14th October), Brighton Dome (16th October), Norwich Nick Rayns LCR (17th October), Southend Cliffs Pavilion (18th October), Leuven Het Depot (19th October), Paris Le Trabendo (20th October), Amsterdam Paradiso (21st October), Bratislava Majestic (24th October), Cologne Essigfabrik (25th October), Berlin Columbia Theater (26th October), Lodz Klub Wytwornia (27th October),
Since Chris Corner aka IAMX has made sunny Los Angeles his home and has showcased his sixth studio album ‘Metanoia’ extensively throughout Europe and the US, his public therapy seems to be working extremely well.
The troubled artist, having suffered streaks of depression which accompanied him throughout his seven year love affair with Berlin, nearly said goodbye to music altogether. Only later had he realised that “it wasn’t the music that was hurting me, it was just that I had to reprogram myself to approach things in a different way, and it became very clear to me that I still wanted to make music more than ever”.
‘Metanoia’ was a culmination of the act of bringing together many ideas to create a laid back, no pressure record and turned out to be an immense success on both sides of the Atlantic, gaining Corner many a new fan.
This month sees a further seven new tracks being released under the umbrella of ‘Everything Is Burning’, as an ‘Addendum’ to ‘Metanoia’, together with new remixes of songs featured on the original 2015 release.
The title track heralds the outing, with an outstanding metallic sound of non-conformist synth, buzzing guitar and that longing vocal, which never adjusts to the norm. The freshness, yet deepened nostalgia weaves itself through the peculiarity of the production, leading into ‘Dead In This House’. The surprising change of rhythm ushers a new era of IAMX’s rule; silky, smooth and ragged and rough at the same time.
Now enters ‘Triggers’, acting as Corner’s reflection on the reality of life. “You may lock your doors but you’ll never keep them out” offers a pessimistic outlook onto the everyday. The howling strings mark the entrance of ‘Scars’; a poignant autobiography with a tear jerking element to it, thanks to the filigree musical additions and honesty of the lyrics.
‘The Void’ continues the notion of melancholia, while ‘Eternity’ bears self-scars from Corner’s existence, where he begs to be completed. The closing ‘Turning Crimson’ sees the X ponder the modern world once more, all disguised as a gentle ballad, but the uncertainty and pain remains.
The rest of the production consists of remixes of few ‘Metanoia’ tracks, such as three mixes of ‘North Star’, triple dose of ‘Oh Cruel Darkness Embrace Me’, a ‘Marat Sad Remix’ of ‘Look Outside’ and two remixes of ‘Happiness’ including a take by Gary Numan.
Although IAMX claims to have become cleansed since living in America, his acute perception of reality and cutting observations of human psyche are still prevalent in the lyrical content if his works. Musically, he’s on top form, and his production towers above most. Although the “becoming X” is complete, Corner has far more to showcase and does so without remorse. It’s a superb addition to an already superb album.
In a far more productive year than 2014, many electronic music veterans returned to the fold in 2015 with their first new albums for many years. There were plenty of releases from independent acts too, with Nordic Europe being a particularly strong territory once again.
45 quality songs made the shortlist and were eventually whittled down to 30. So mention must be made of ALICE IN VIDEOLAND, ANALOG ANGEL, BEBORN BETON, BECKY BECKY, CAMOUFLAGE, CLUB 8, ELECTROGENIC, EURASIANEYES, ME THE TIGER, HANNAH PEEL and SIN COS TAN who all released recordings in 2015 that would have easily made the listing in less competitive years such as 2012 and 2014. Even DURAN DURAN’s disappointing ‘Paper Gods’ yielded one decent track in ‘Face For Today’, but one swallow doesn’t make a summer.
So the decision has been made; with a restriction of one song per artist moniker, this alphabetical list comprises tracks released in physical formats, or digitally as purchasable or free downloads during the calendar year. Here are ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2015…
A-HA She’s Humming A Tune
Having played what appeared to be their farewell concert at the Oslo Spektrum in December 2010, A-HA reunited in a relaxed manner that recalled their days as a fledgling band. On ‘She’s Humming A Tune’, there were hints of 1986’s ‘Scoundrel Days’ in a lower key with sweeping synths, bottle neck six string and live drums moulding the chilling soundscape with that exquisite Nordic allure. ‘Cast In Steel’ was the antithesis of the misguided EDM blow-out that DURAN DURAN attempted on ‘Paper Gods’
Available on the album ‘Cast In Steel’ via Universal Music
Feeling gloomy? Then take heed of the advice from BLACK NAIL CABARET and “Don’t be sad! Don’t be whiney!” – this brooding slice of Gothtronica was the lead single from the Hungarian duo’s second album ‘Harry Me, Marry Me, Bury Me’. Laden with a delicious synth bassline like DEPECHE MODE reimagined for a Weimar Cabaret set piece and topped with eerie string machine, ‘Satisfaction’ was the duo’s best individual offering to date. The pair also made a worthy impression opening for CAMOUFLAGE.
Available on the album ‘Harry Me, Marry Me, Bury Me’ via Basic Unit Productions
From Neil Arthur’s first BLANCMANGE album without long time bandmate Stephen Luscombe, ‘Useless’ was a brilliant hybrid of BRIAN ENO circa ‘Here Come The Warm Jets’ with LCD SOUNDSYSTEM. “It’s about anyone who thinks they might be useless” said Arthur, “This song is about that whole idea that we’re all flawed and you’re ‘useless as you are’… there are just times when you think ‘f*cking hell, I couldn’t organise a p*ss up in a brewery’ or that whole thing about confidence”.
Available on the album ‘Semi Detached’ via Cherry Red Records
Although launch single ‘Shine’ indicated it was business as usual, as hinted at with the title, CAMOUFLAGE’s long awaited long player ‘Greyscale’ was their most mature artistic statement yet. The mellow and warm ‘Count On Me’ saw Marcus Meyn duet with Peter Heppner of WOLFSHEIM fame. The lush blend of vocals and atmospherics showcased two of Germany’s most highly regarded electronic acts at their best.
CHVRCHES stuck to the synthpop template of their debut and delivered what LITTLE BOOTS, LA ROUX, and LADYHAWKE and HURTS all failed to do… a decent second album! The propulsive four-to-the-floor action of ‘Clearest Blue’ shows how far CHVRCHES developed. Although not unlike an amalgam of ‘Gun’ and ‘Science / Visions’, ‘Clearest Blue’ is even more accomplished, wonderfully held in a state of tension before WHACK, there’s a dynamic surprise that recalls the classic overtures of Vince Clarke.
Available on the album ‘Every Open Eye’ via Virgin Records
RODNEY CROMWELL is Adam Cresswell, formally of ARTHUR & MARTHA. ‘Black Dog’ recalled the pulsing post-punk miserablism of SECTION 25 and was embellished some Hooky styled bass. Cresswell said: “It’s all broadly linked to experiences in my life over the last ten years; themes of love, loss, depression, redemption”. As with NEW ORDER’s ‘Temptation’, despite the inherent melancholy, there was light at the end of the tunnel that made ‘Black Dog’ a most joyous listening experience.
Available on the album ‘Age Of Anxiety’ via Happy Robots
Utilising her Italian heritage, DAYBEHAVIOR’s lead singer Paulinda Crescentini gave a suitably alluring performance on ‘Cambiare’, the B-side of the Swedish trio’s single ‘Change’. Remixed to poptastic effect, the joyous yet melancholic tune took the best elements of Italo disco with an expression of sorrow and happiness that recalled imperial phase PET SHOP BOYS. With a catchy chorus and seductive topline, Linguaphone language lessons were never this much fun…
An offshoot of Swedish EBM veterans SPETSNAZ, DESTIN FRAGILE are a very different animal with hints of CAMOUFLAGE and DEPECHE MODE in their sound. ‘Run Away’ opened their ‘Halfway To Nowhere’ opus, an album which some observers have hailed as one of the best of 2015. Featuring a fine vocal from Pontus Stålberg resembling MESH’s Mark Hockings, this is what modern synthpop should be like; pop music with synths and melody as well as dynamic synth solos.
Available on the album ‘Halfway To Nowhere’ via Dark Dimensions
EAST INDIA YOUTH’s debut ‘Total Strife’ pointed towards William Doyle’s potential to pen sublime pop, and with the follow-up ‘Culture Of Volume’, this was more than realised. But the album’s centrepiece was ‘Carousel’. Imagine the start of OMD’s ‘Stanlow’ reworked during BRIAN ENO’s sessions for ‘Apollo: Soundtracks & Atmospheres’. With no percussive elements and over six minutes in length, Doyle gave a dramatic vocal performance resonating in beautifully crystalline melancholy.
Available on the album ‘Culture of Volume’ via XL Recordings
Berlin-based EMIKA is one of the dark horses of the UK electronic scene. A combination of her classical training, Czech heritage and use of modern technology has made for a provoking, brooding sound that has attained critical acclaim over the last few years. From her third album, helpfully named ‘Drei’, ‘My Heart Bleeds Melody’ was its highlight, a concoction of intricate pulsing layers and solemn detachment that provided a captivating listening experience.
FFS proved collaborations do work. A total triumph, ‘P*ss Off’ was possibly the album’s most outstanding number. With the vibrancy of ‘Kimono My House’ and ‘Propaganda’ era SPARKS, there were plenty of jaunty ivories and camp vocal theatrics in the vein of classics like ‘Something For The Girl With Everything’ and ‘BC’. “It’s inexplicable” they all growled as the multi-track phrase of “HARMONISE” kicked in! A total joy, ‘P*ss Off’ was the ultimate two fingered art school pop anthem.
One of the highlights in Herr Flür’s DJ sets has been The Ninjaneer Mix of ‘Cover Girl’, a swirling synthpop track that the former KRAFTWERK percussionist has described as ‘The Model MkII’. He said: “Her story goes on and unfortunately shows her going downhill. She had bad experiences with drugs, alcohol and other things so had to dance in night clubs for earning money at least. A true story, a bad life… that’s sometimes the way how super models are knitting their career”
Available on the album ‘Eloquence’ via Cherry Red Records
JOHN GRANT’s adventure into a solemn electronic template on ‘Pale Green Ghosts’ not only won him a BRIT Award nomination too. Meanwhile his collaboration with HERCULES & LOVE AFFAIR showed he understood the disco as well. ‘Disappointing’ combined the two approaches and added some funk for an enjoyable Bowie meets YAZOO styled workout. In a song full of surprises, not only was there the presence of slap bass, but there was the dulcet tones of EVERYTHING BUT THE GIRL’s Tracey Thorn too.
Available on the album ‘Grey Tickles, Black Pressure’ via Bella Union
GWENNO’s Welsh and Cornish heritage has allowed her to develop a unique brand of lo-fi electronica. Her full-length Welsh language debut ‘Y Dydd Olaf’ came out on Peski Records in October 2014. Now reissued in 2015 by Heavenly Recordings, GWENNO has deservedly gained an increased profile for her music. With beautiful, traditionally derived melodies placed in a spacey yesterday’s tomorrow setting, the spacey ‘Calon Peiriant’ was one of the more immediate delights on offer from a wonderful album.
Available on the album ‘Y Dydd Olaf’ via Heavenly Recordings
Depression despite apparent material success has been an ongoing lyrical theme for Chris Corner as IAMX. And with ‘Happiness’, his craving for a mind to be free of bad news, negative influences and jealousy was countered with his line of “Everywhere hypocrisy!” as pulsing arpeggios kicked in for the final third’s gentle but drama laden climax. Highly poignant in the current economic and political climate, Corner’s move from Berlin to Los Angeles certainly did his music no harm.
Available on the album ‘Metanoia’ via Caroline International
JEAN-MICHEL JARRE & VINCE CLARKE Automatic Parts 1 + 2
The French synth maestro’s first album for since ‘Teo & Tea’ in 2007 was an opus entitled ‘Electronica 1 – The Time Machine’ featuring collaborations with TANGERINE DREAM, LITTLE BOOTS and MASSIVE ATTACK among many. But the two part ‘Automatic’ with Vince Clarke was the highlight, taking in the best of the tune based elements of both artists while not letting one party dominate. VCJMJ was certainly a more artistically realised proposition than the polarising techno of VCMG!
Available on the album ‘Electronica 1: The Time Machine’ via Columbia Records
“Whether I release it in 2013 or 2016, it’s still going to sound like 1985!” said KID KASIO main man Nathan Cooper. A man whose is plainly honest about where his influences lie, his love of classic synthpop permeates throughout his work. Now imagine if DEPECHE MODE was fronted by Nik Kershaw instead of Dave Gahan? With ‘Full Moon Blue’, that musical fantasy became fully realised with a clever interpolation of ‘Two Minute Warning’, one of Alan Wilder’s songwriting contributions from ‘Construction Time Again’.
Despite having been around since 2008, Swedish synth duo KITE have tended to be overlooked internationally. But Nicklas Stenemo and Christian Berg’s wonderfully exuberant array of sounds and rugged, majestic vocals deserve a much larger audience. Issuing only EPs and never albums, KITE’s most recent release ‘VI’ opened with the magnificent progressive electronic epic ‘Up For Life’. The passionate and sublime first half mutated into a beautifully surreal journey of VANGELIS-like proportions for the second.
The syncopated electro disco feel of ‘The Bombs’, one of the highlights from MACHINISTA’s second album came almost by accident. Instrumentalist Richard Flow remembered: “Actually the first version of ‘The Bombs’ had a completely different rhythm in the drums. I actually did get stuck with this song and I wasn’t happy at all about the music. Once I did change the bass drum to a simple 4/4, I was back on track again. Most of the sounds from the original version I did keep, so perhaps a simple 4/4 bass drum mixed with the sounds for this original rhythm created this ‘disco’ feel…”
Available on the album ‘Garmonbozia’ via Analogue Trash Records
A worthy of re-assessment of DEPECHE MODE ‘A Broken Frame’ has been long overdue and MARSHEAUX have certainly given a number of its songs some interesting arrangements. Their version of ‘Monument’ borrowed its bassline from latter day DM B-side ‘Painkiller’. Combined with some wispily resigned vocals, it provided a tense soundtrack that could be seen as metaphoric commentary on the economic situation in Greece. It’s not often that cover versions are better than the originals, but this is one of them.
Available on the album ‘A Broken Frame’ via Undo Records
METROLAND’s second album ‘Triadic Ballet’ was a triumphant electronic celebration of the Bauhaus, art movement led by Walter Gropius. Gropius theorized about uniting art and technology and on the B-side of its launch single ‘Zeppelin’, METROLAND worked towards the 21st Century interpretation of that goal. Now imagine if GARY NUMAN had actually joined KRAFTWERK in 1979? Then the brilliantly uptempo ‘(We Need) Machines Without Romance’ would have surely been the result.
Studio legend John Fryer has been busy and the project that perhaps harks closest to THIS MORTAL COIL is MURICIDAE. Featuring the exquisite vocals of Louise Fraser, she and Fryer apparently “met on the beach searching for mermaids”… the sea is very much the visual theme for their music, with Fryer cultivating “sonic sculptures to musically embody the exquisite Muricidae Shell itself”. The tranquil beauty of ‘Away’ captures a shimmering soundscape that compliments Fraser’s plaintive lament.
Available on the EP ‘Tales From A Silent Ocean’ via Muricidae Music
After the guitar dominated proceedings of the last few NEW ORDER albums, Bernard Sumner promised a return to electronic music for the Mancunians’ first album of new material without estranged founder member and bassist Peter Hook. That was certainly delivered on with ‘Plastic’, a full-on throbbing seven minute electro number mixed by Richard X with blippy echoes of ‘Mr Disco’. Dealing with the issue of superficiality, it declares “this love is poison, but it’s like gold”… yes, beware of anything plastic and artificial!
Available on the album ‘Music Complete’ via Mute Artists
In 2015, the Norge domiciled Swedish songstress’ KARIN PARK finally released her fifth album, the profanity laden fifth ‘Apocalypse Pop’. While less harsh in sound to some of the other tracks on the long player, ‘Stick To The Lie’ was no less angry. The most overtly synthpop track on the collection, this accessible yet emotive song was one of the highlights on a collection that affirmed KARIN PARK’s place in modern electronic pop.
Available on the album ‘Apocalypse Pop’ via State Of The Eye
With CHVRCHES having borrowed PURITY RING’s electro template and pushed it into the mainstream, the direction taken on the Edmonton duo’s sophomore album ‘Another Eternity’ was going to be watched with interest. Certainly it was more focussed than its predecessor ‘Shrines’. Still utilising glitch techniques, booming bass drops and Corin Roddick’s rattling drum machine programming, the album’s best song ‘Begin Again’ made the most of Megan James’ sweet and dreamy voice.
Available on the album ‘Another Eternity’ via 4AD Records
Sweden’s SISTA MANNEN PÅ JORDEN (translated as “The Last Man on Earth”) are led by Eddie Bengtsson, best known for his work with S.P.O.C.K and PAGE. The themes of space travel and Sci-Fi are regular lyrical gists and while all of SMPJ’s songs are voiced i Svenska, Bengtsson opened up his Vince Clarke influenced synthpop to the English language in 2015 with the ‘Translate’ EP. Brilliantly produced, ‘All The City Lights’ (a version of his 2014 single ‘Stadens Alla Ljus’) was its highly enjoyable opening gambit.
SUSANNE SUNDFØR and her acclaimed ‘Ten Love Songs’ album developed on the electronic focus of its predecessor ‘The Silicone Veil’. With an eerie, droning intro with echoes of THE WALKERS BROTHERS’ ‘The Electrician’, ‘Delirious’ thundered with some fierce electronics bolstered by dynamic orchestrations like THE KNIFE meeting DEPECHE MODE. It captured love as a reluctant battle of the emotions while our heroine announced with emotive resignation “I’m not the one holding the gun”.
Available on the album ‘Ten Love Songs’ via Sonnet Sound
TRAIN TO SPAIN’s developing brand of uptempo, energetic pop utilises classic synthesizer sounds in the vein of Vince Clarke coupled to a metronomic rhythm structure akin to the 1985 ‘Philip Oakey & Giorgio Moroder’ album. Coming over like LANA DEL REY fronting YAZOO, Wigeborg’s cooingly vulnerable vocals on ‘Passion’ let rip over a suitably complimentary electronic backbone from Rasmusson, while a superb remix by MACHINISTA added some beefy gothic disco goodness.
Available on the download single ‘Keep On Running’ via Sub Culture Records
Manchester based Ross Tregenza is an experienced hand having co-written ‘Diaries Of A Madman’ with Dave Formula and Steve Strange when he was a member of VISAGE II in 2007. He surprised electronic music audiences with a Spartan cover of ‘The Partisan’, a song made famous by LEONARD COHEN. While many may despair at the very mention of the droll Canadian, his work has strong parallels with many Gothic veined musical forms, especially with this harrowing tale of fighting for La Résistance.
Originally from the EP ‘Stolen Thunder’, alternate version available on the album ‘Into The Void’ via Tregenza Music
On VILE ELECTRODES’ mesmerising ‘Captive in Symmetry’, “Filmic” is indeed a very apt description with the booming synth bass motif possessing echoes of the ‘Twin Peaks’ theme tune ‘Falling’. As beautiful sequences, eerie strings and Anais Neon’s hauntingly alluring vocals take hold, it all comes over like a dreamboat collaboration between JULEE CRUISE and OMD that could easily be considered for use in the proposed revamp of the surreal North American drama.
Available on the EP ‘Captive In Symmetry’ via Vile Electrodes
Anyone, who descended onto Camden’s prime gig heaven, Koko on that very night, will. Koko, a historical venue, having been a theatre, cinema, The Music Machine, Camden Palace and refurbished in the noughties to house many an artist, suited the atmosphere of the night perfectly.
‘Metanoia’ is Chris Corner’s sixth studio album as IAMX, was his hardest to turn out. Afraid of being “burnt out” and briefly considering leaving music altogether, following a streak of depression, the artist left his seven-year base of Berlin for sunny LA. The realisation that he could create something special by addressing his emotional problems pushed IAMX to give birth to his best work to date. Far more synthy than its predecessors, his “public therapy” has continued with a full on tour of ‘Metanoia’, seeing North America and Europe bowing in front of the frail frame in awe.
Having just done a gig in Paris on the previous night and crossed the English Channel on a morning ferry, Corner and co were ready to rock Koko with extraordinary power. A far cry from his beginnings in SNEAKER PIMPS, now a fully reincarnated X, he knows how to make the audience go into a frenzy. The limited stage space, crammed with his two girl keyboard players Janine Gezang and Sammi Doll, Jon Siren’s drum set and Corner ‘s central spot was a setting for something amazing.
The opening ‘I Come With Knives’, which also kicked off his 2013 ‘The Unified Field’ album, dazzled from the beginning with the strong female backing vocal, promising an exhilarating experience from the onset. ‘The Alternative’ followed, with strong, inspired beats, bursting with added energy from the vibrant keyboards and mesmerising the desirous audience. The familiar melody of the exquisite ‘Happiness’ from his latest production invited the crowd to shout out the “liars” line eagerly, while one had a feeling of being shown around an art gallery, but with music.
The natural, genuine and hardly pushed frail frame of a man and his side-kick Janine, with their mad vocal set pieces continued with ‘Mercy’, ‘No Maker Made Me’, ‘Volatile Times’, ‘Tear Garden’ and ‘Oh Cruel Darkness Embrace Me’. Then came his iconic and ultimate hit ‘Spit It Out’, a subject of many covers; this hysteric track has been given a modest makeover for ‘Metanoia’ tour, and appeared more mellow and subdued than its original version. Nevertheless, it created a stir in the audience, who by then, were ready to give Corner anything in exchange for another beautifully executed track.
The crowd asked for and the crowd got ‘Bernadette’; less cabaret in style compared with the ‘Volatile Times’ album version, with no guitars and just a minimal bass, it was hardly recognisable yet far better than the original. ‘Surrender’ and ‘After Every Party I Die’ came next, seeing the natural talent bare his pain in an atmosphere of systemic noise, telling the audience: “You f*ckers make this project alive” and creating an aura without the need to Elvis twerk or take his top off to impress.
‘Aphrodisiac’ followed with the weirdest video featuring eye ball licking activities (yes, DEPECHE MODE on ‘Tour Of The Universe’, that’s beaten your ‘Strangelove’ toe sucking visual!), before finishing off with ‘Your Joy Is My Low’.
The petite hooded creature of the darkness emerged one more time for the encore with the additional three mega tracks, ‘Bring Me Back A Dog’, the immense ‘Kiss + Swallow’ and ‘I Am Terrified’ before gently gliding back into the night. The audience, bewilderedly mesmerised and thrown into a dreamy mood floated out of the venue to the beats of ‘Warm Leatherette’ by THE NORMAL.
Corner sure puts on a show; even if it is on a tiny stage, he and his IAMX posse bring youth, vitality and energy onto the table, sounding vocally immaculate and musically just out of this world. Many a weathered song writer, including those of major electronic bands, could take a leaf from his book, if only they were more honest with themselves.
It’s got to be said that the sound in Koko can be hit and miss; however on this night it was superb. Corner’s voice appeared impeccable as ever, with his range oh-so amazing, and sung to multiple microphones for the additional effect. The drumming was adequately positioned to give canvas to the rest of the performance, but never overpowered, never took over and gently accented the electronic beats.
The scattered visuals with the weirdest of images at times, brought the production together into a hysteria. The feeling of watching a beautifully executed ballet or opera springs to mind; a theatrical experience with the little body diving into the audience at one point.
One thing is certain: Chris Corner creates a legitimate atmosphere that never turns into a limelight for him to step into. All is conceived and created, not contrived. HE IS THE X… HE’S BECOME THE ULTIMATE X NOW!
‘Metanoia’ is released by Caroline International in CD, vinyl LP and download formats
We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it.Ok
, but launch single ‘My Name Is Ruin’ is a mighty and brilliant first salvo.
, as an ‘Addendum’ to ‘Metanoia’, together with new remixes of songs featured on the original 2015 release.
, his craving for a mind to be free of bad news, negative influences and jealousy was countered with his line of “Everywhere hypocrisy!” as pulsing arpeggios kicked in for the final third’s gentle but drama laden climax. Highly poignant in the current economic and political climate, Corner’s move from Berlin to Los Angeles certainly did his music no harm.
is released by Caroline International in CD, vinyl LP and download formats
Follow Us!