Artists express themselves using music all the time. However, only a true embodiment of a genuine performer can shock, move, enlighten and create consternation.
Chris Corner’s “public therapy” and “an excuse to play with who he is, exploring certain parts of his personality, which he doesn’t get to explore in everyday life” is what IAMX materialises. The name of the project, I am X, was a continuation of SNEAKER PIMPS’ album ‘Becoming X’.
Notwithstanding, this time he had become the X. The X, who changes, evolves and becomes emancipated. Since his solo debut in 2004, Corner has produced and performed his eccentric act, enriched with artistic visuals, costumes and sets, gaining vast popularity in alternative electronic music circles.
‘Metanoia’ is the sixth studio album by IAMX, and one that proved the most difficult to turn out. The artist suffered a streak of depression, deepened by cold winters of his seven year base, Berlin. The isolation led him to consider leaving the music altogether, but Corner quickly 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”.
Freshly regained enthusiasm saw Corner moving to Los Angeles to create a laid back, no rush, no pressure record, very unlike ‘Kiss + Swallow’, ‘The Alternative’, ‘Kingdom of Welcome Addiction’, ‘Volatile Times’ and finally ‘The Unified Field’. This time, he wasn’t trying to make an album because he felt it was expected, or create a meaningless pop record, which always made him feel dirty. He realised that, by addressing his issues and stripping down to show his true self, with the mental challenges and emotional problems, he could create something special, which underlines the fundamental change in himself.
‘No Maker Made Me’ creates a religious controversy in the chorus from the onset, a powerful opener to this enriching production; “You f***ing sinner” being proudly executed over the uncaring, gritty synth. The mood changes, however, with the oh-so-musical ‘Happiness’. A longing synth ballad, chasing the one, elusive element of human existence that’s worth living for. It fluctuates between the soft, harsh, loud and melodious.
‘North Star’ entices with excellent, gentle synth, which slowly becomes harsher, stronger and dirtier, bursting into a trance inspired dance of insanity. ‘Say Hello Melancholia’ tempts seductively, entraps into a powerful love affair of “paranoid dreams waiting in line”, a softer, slower tune; poignant lyrically and subdued mellifluously.
‘The Background Noise’ skilfully portraits the uneasiness of mind, where everything seems well on surface, in a normal life, but something bubbles underneath: something sinister, which “isn’t sitting right, something keeps me up at night… the background noise”. It’s a definitive IAMX tune, describing the thorny nature of Corner’s troubled mind. The theme continues with piano based ‘Insomnia’, a cry for healing to “save me from myself”.
‘Look Outside’ with its touching strings, ethereal melody and gentle drums cushions the blows of life. Corner raises the glass to his new Los Angeles home, which has embraced his madness to bathe him in the tranquility he’s been searching for.
‘Oh Cruel Darkness Embrace Me’ shifts the mood into a synth laden utopia, covering the subject of hypocrisy in the middle classes in the “f***ed up world”, while ‘Aphrodisiac’ bursts out with a high pitched vocal over uneasy electronica; it’s classic, arty IAMX. This heavy dance track requires serious head bopping and floor stomping, before it sharply cuts off into ‘Surrender’. This distinctive, lethargic and leisurely track, like a waltz, winds itself around the ballroom dance floor, lit with a million glass lights, sharply shining their luminous glow and calling to “surrender”.
The production is culminated with the piano laced ‘Wildest Wind’, an extravaganza of everything that’s best in a well written electronic song. This pining, yearning desire, excellently labelled with intricate sounds, is at times reminiscent of DEPECHE MODE’s ‘Sibeling’.
Since Corner is “seeing things very clearly now”, seeing “the music nourishes me”, his musical purpose is stamped all over ‘Metanoia’, the regained purpose, which he had lost for a while, and what a comeback it is. Turmoiled, lost, then reclaimed and strong, that’s what IAMX is, a different take of the X perhaps?
‘Metanoia’ is released by Caroline International in CD, vinyl LP and download formats
IAMX play London’s Koko on Monday 9th November 2015 as part of an extensive world tour
In 1996, SNEAKER PIMPS released the highly acclaimed ‘Becoming X’ featuring its original line-up of Kelli Ali, Liam Howe and Chris Corner.
Tensions led to the departure of Kelli Ali as Chris Corner took on vocal duties for the following albums ‘Splinter’ and ‘Bloodsport’. The title of that debut turned out to be prophetic as following the end of SNEAKER PIMPS, Corner relocated to Berlin where he found “the spirit to care less about the music industry and take an independent route” as IAMX and delivered the impressive debut ‘Kiss + Swallow’.
Now IAMX returns with ‘The Unified Field’, an album which sees Corner attain even greater independence through crowd funding forum Pledge Music while almost paradoxically, involving others in the actual musical realisation. Corner told fans to expect “a new kind of IAMX sound, full of acoustic warmth, electronic sex and an emotional strength that can only come from collaboration”.
Following the intense experimentation and loneliness of its predecessor ‘Volatile Times’, there is no doubt that light has been let into proceedings with the recording being overseen by Grammy Award winner Jim Abbiss who co-produced ‘Becoming X’ and whose other credits have included LADYTRON and KASABIAN. Meanwhile, Liam Howe also appears on several tracks along with long standing IAMX live band members Alberto Alvarez and Janine Gezang.
Indeed it is Gezang’s dulcet Germanic tones that start off ‘The Unified Field’with the blistering ‘I Come With Knives’. Like a thunderstorm, tension can be released but dark clouds often remain. Here Corner delivers an embittered but accessible diatribe dressed with chilling dulcimer and frantic motorik percussion. He then goes back to working alone on the wonderfully chromatic ‘Sorrow’ with sombre synth brass tones counterpointing the Slavic sensed melody. Harking back to the best moments of previous albums ‘Kingdom Of Welcome Addiction’ and ‘The Alternative’, IAMX is again penetrating the sensitivities of the European psyche.
After the organic rhythm construction of the opening two numbers, ‘The Unified Field’ title track takes on a more mechanical stance but is kept emotively human by tinkling piano and Corner’s distinctive voice although that then takes on some unsettling Mezzo-soprano overtones. ‘The Adrenalin Room’ is more experimental, dub bass set to stuttering drums and fuzzy synths like a gothic PUBLIC IMAGE LIMITED with even more schizo high pitched voicing.
‘Quiet The Mind’ takes the pace down with some gentle guitar in a richly beautiful ballad that blends acoustic and electronic instrumentation. “Hold back the melancholy – hold back the fear…” Corner almost cries. ‘Under Atomic Skies’ and ‘Screams’ are worthy second cousins and mention must be made here of producer Jim Abbiss. As well creating a suitably powerful sound palette for the grittier tracks on ‘The Unified Field’, Abbiss’ treatment of the more pastoral compositions is both sympathetic and complimentary.
Some marvellous strings by Florentin Chiran give ‘Come Home’ an eerie nomadic atmosphere but the inclusion of a lone drum machine and an ancient valve oscillator for the solo are key indicators that this has been recorded post-20th Century rather than an era prior to it. ‘Animal Impulses’ and its detuned synth effects get an unusual lift via a digital drum machine while a brass section and shrilly recorder also get in on the act; this is a quite unorthodox number which switches time signature on several occasions during its four minute duration.
It all rocks out again on ‘Walk With The Noise’ which is could be considered classic IAMX but then comes one of the highlights in the rousingly bohemian ‘Land Of Broken Promises’. A great blend of acoustic guitar and treated piano is boosted with the bonus of Corner and Gezang duetting. A terrific violin solo from Florentin Chiran then ensues for that authentic sense of vagabond adventure. The almost mournful ‘Trials’ makes a suitable closer, building to the anticipated dramatic climax with bouts of even more dulcimer, droning synth sweeps and some spirited falsetto like BEE GEES gone Emo! At times, it even sounds a bit U2 but far less over blown!
In addition to the IAMX faithful who will love ‘The Unified Field’, followers of MARC ALMOND, NINE INCH NAILS MESH and DEPECHE MODE who have not been previously acquainted with Chris Corner may also find much to appreciate on this album. Despite its darkness and feelings of unsettlement, this is a melodic body of work that invites attachment and eternal love, but with staunchly fierce independence.
So what did ELECTRICITYCLUB.CO.UK think was hot back in 2011?
It featured a day in March when THE HUMAN LEAGUE, DURAN DURAN and John Foxx all released new albums, while VILE ELECTRODES launched their debut EP. In a year when the synth pioneers were finally recognised for their valuable contribution to popular culture, here are our 30 favourite songs of 2011 presented in alphabetical order by artist…
AUSTRA Spellwork
Canadian trio AUSTRA deliver a stark, baroque form of electronica fuelled by sexual tension. Like a gothic opera which successfully blends light and darkness with fragility and power, Katie Stelmanis and friends borrow the tones of classic DEPECHE MODE and cross it with THE KNIFE for this, their most accessibly brilliant synthpop offering from their debut album. The B-side ‘Indentity’ is a worthy listen too.
Available on the CD ‘Feel It Break’ via Domino/Paper Bag Records
Fresh from opening for John Foxx, Tara Busch released a charity EP for The Bob Moog Foundation. If you’ve ever wanted to hear that bizarre sonic other worldiness of GOLDFRAPP’s first album ‘Felt Mountain’ again, it’s right here on ‘Rocket Wife’. With hints of the eerie classic Star Trek theme, this is really does sound like THE CARPENTERS in outer space! Calling occupants of interplanetary craft, across the universe…
Available on the download EP ‘Rocket Wife’ via The Bob Moog Foundation
With wonderful riffs and an uplifting chorus, this is delicious electronic pop from the cult Swedish trio of Paulinda Crescentini, Tommy Arell and Carl Hammar. Remixed by Athens synth maidens MARSHEAUX, this has the best of both worlds and could easily be mistaken for Sophie and Marianthi. However, PaulindaCrescentini’s Italo Nordic charm gives ‘It’s A Game’ a wonderfully distinct and alluring Mediterranean flavour.
Available on the download EP ‘It’s A Game’ via Graplur Records
BETH DITTO would probably be the Alison Moyet of modern electro if she didn’t prefer the funky punk of her band GOSSIP. ‘Do You Need Someone?’ sees Ms Ditto’s powerful and passionate yearning adding soul to the sparkling electronic dance groove. With production from SIMIAN MOBILE DISCO, KRAFTWERK’s ‘Computer World’ tones towards the song’s coda are a marvellous touch. A future career as an alternative disco diva beckons.
Available on the CD EP ‘Beth Ditto’ via Deconstruction Records/Sony Music
While Dolby’s album return was largely organic with hints of bluegrass and Americana, its token synthpop offering was the wonderful ‘Spice Train’. Over its hypnotic, squelchy sequence and mechanised dance beat, it gets strangely humanised by a Mariachi horn section. With the kitchen sink and a host of exotic influences thrown in via Bollywood and the Middle East, ‘Spice Train’ does exactly what it says on the tin.
Available on the CD ‘A Map Of The Floating City’ via Lost Toy People.
‘All You Need Is Now’ saw DURAN DURAN cyclically return to the funk-led syncopated pop of their first two albums. ‘Being Followed’ is a superb sequencer assisted disco number with a tingling metallic edge, touches of THE CURE’s ‘A Forest’ and Nick Rhodes’ vintage string machine capture the tension of post 9/11 paranoia. Simon Le Bon gives it his all and while he is technically one of the most chronic singers of his generation, he is unique AND untouchable…
Available on the CD ‘All You Need Is Now’ via Tape Modern
NIKONN’s brand new album ‘Instamatic’ is suitably Mediterranean so add that instrumentation to the voice of raspy New Yorker Lana Del Rey and the end result is a glorious sun-kissed dancefloor moment. Somehow, you end up feeling much happier after dancing to, what is essentially in its original form, a quite stark, heartfelt minor key ballad. Now officially sanctioned, the remix brought the former Lizzie Grant to an electronic pop audience.
Originally issued as a free download but currently unavailable.
From her under rated album ‘Make A Scene’ which includes contributions from Richard X and Armand Van Buuren, the appropriately titled Synchronised is a synthpop tune with a distinct YAZOO flavour to it. All highly appropriate as she supported ERASURE during their forests tour this year. This superbly cements her electro kinship which has been apparent since ‘China Heart’ from her ‘Tripping The Light Fantastic’ in 2007.
Available on the CD ‘Make A Scene’ via Douglas Valentine Limited
The best track on the ‘Interplay’ album is a co-written duet with Mira Aroyo of LADYTRON. ‘Watching A Building On Fire’, with its chattering drum machine and accessible Trans- European melodies, oozes a synthetic smokiness. Aroyo’s counterpoint is almost playfully feline although Foxx’s inherent dystopianism gives it his stamp, making this a second cousin of ‘Burning Car’. The Andy Gray remix is also a worthy acquisition.
Available on the CD ‘Interplay’ via Metamatic Records
JOY DIVISION’s original on ‘Closer’ was one of the most fragile, funereal collages of beauty ever committed to vinyl but Elizabeth Walling has covered this cult classic and made it even more haunting! Replacing the piano motif with eerily chilling synth and holding it together within an echoing sonic cathedral, she pays due respect while adding her own understated operatic stylings… you should hear her version of ‘Louie Louie’!
Available on the download EP ‘I Am Shell I Am Bone’ via Anti-Ghost Moon Ray Records
Susanne Sulley does her best LITTLE BOOTS impression with this opener to ‘Credo’, the long awaited comeback album from THE HUMAN LEAGUE. Sounding like ‘Crash’ gone right or CLIENT gone funky, it is also auto-tuned to the hilt as Da League go all contemporary with this marvellous slice of electronic pop. Let’s hope it’s not another ten years before there’s new material!
‘Clump’ could be the sound of the drums on OMD’s ‘History Of Modern Part 1’ but it’s actually this kooky little number by IAMAMIWHOAMI aka Jonna Lee. A synthetically charged amalgam with vintage sounds and even a toy piano thrown in, this is a bit brighter than some her contemporaries if still delightfully odd and mysterious. It’s musically more Bjork than FEVER RAY although she does share the same management with the latter.
Available on the download single ‘Clump’ via iTunes and Amazon
IAMX have captured an electro Gothic aesthetic that combines the theatrics of Weimar Cabaret with themes of sex, alienation and dependency. Despite the lyrical and aural fervor, Corner’s songs are strongly melodic with an accessible grandeur. The superb lead single ‘Ghosts Of Utopia’ from new album ‘Volatile Times’ has instant appeal with its exhilarating mechanical drive and electrickery. His scream of “this is psychosis” is wholly believable! Dance in the dark!
Available on the CD ‘Volatile Times’ via Republic of Music/BMG
Flautist textures dominate the more sedate pace of ‘Mirage’ almost as a reaction to the loudness war of previous album ‘Velocifero’. Helen Marnie’s voice beautifully suits the synthetic atmospherics while the widescreen, spacious mix compliments a catchy tune that has hints of SIOUXSIE & THE BANSHEES. Although confusing some of their fans, given room to explore, ‘Gravity The Seducer’ is that under rated album which will be hailed as a classic in years to come.
Available on the CD ‘Gravity The Seducer’ via Nettwerk Productions
Living in a dream since 1983 and as a homage to ‘The Pleasure Principle’, MAISON VAGUE mainman Clark Stiefel responded musically to a YouTube video entitled ‘Synthpop Is Dead’. The opening salvo is brilliant and the lyric of “Everyone’s entitled to opinion, you have yours and well I have mine” hits home. But it’s the retort of “And though it seems that our opinions differ, you’ll agree in time!” that says it all as the sound of PLACEBO gone electro. This battlecry has heart, soul and humour.
Available on the download album ‘Synthpop’s Alive’ via Amazon
Closing MIRRORS’ outstanding ‘Lights & Offerings’ long player, ‘Secrets’ shifting phat bass riff across two octaves is pure Kling Klang, driven by an intense percussive march. An epic at over ten minutes in length and split into three movements, the ambient interlude of the second section consists of an aural sculpture that plays with the mind. It then suddenly reprises with a piercing military tattoo for its finale with unsettling voices for some added claustrophobic edge.
Available on the CD ‘Lights & Offerings’ via Skint Entertainment
Yes, Moby has settled into a formula but he does it well. One of the more immediate tracks from the excellent independently released ‘Destroyed’ album, ‘Be The One’ is full of rich layered synth strings with moody chordial sweeps over a motorik beat and textured vocoder. Despite the simplistic robotic couplet “I was the hell that you needed – I was the one when you needed love”, it strangely exudes warmth and emotion.
Available on the CD ‘Destroyed’ via Little Idiot Records
From their second EP Radio, with Caroline Myrick’s soft vocals attached to Darin Rajabian’s classic electro disco inspired backing, ‘On The Run’ could be described as Ellie Goulding gone right and is free of folkisms. : “I want back the soft quiet days of ever, when there was lemonade and sand, and rainy screen doors and sad movies; when the minutes were no one else’s but ours”.
Available on the download EP ‘Radio’ via their website
Anthemic gothic rock is what the former Gary Webb deals in these days but ‘The Fall’ is a lot less heavier and one-dimensional than the offerings on previous album ‘Jagged’. Co-written and co-produced by Ade Fenton as an interim project when work on the ‘Splinter’ album was put on hold, with a fair smattering of gritty synths, this achieves a much better sonic balance and Gary Numan’s most accessible number in years.
Available on the CD ‘Dead Son Rising’ via Mortal Records
THE OPIATES are former ELECTRIBE 101 chanteuse Billie Ray Martin and Norwegian DJ and producer Robert Solheim. They have been dubbed as The Carpenters of Electro. Several years in the making, the debut album contained ‘Anatomy Of A Plastic Girl’, a fine avant pop structure that told the tale of a young wannabe actress in Los Angeles who reflects on the facial surgery that has left her scarred…
Available on the CD ‘Hollywood Under The Knife’ via Disco Activisto Records
QUEEN OF HEARTS is Liz Morphew, formally of RED BLOODED WOMEN; this mysterious young royal with her assorted headgear and couture is modern electropop’s own Queen Amidala. From a galaxy far, far away and light years ahead of the poptastic competition, this moody, pulsing cover of indie rockers THE FOALS is transformed by a hypnotism textured with spacious synths to give our Queenie room for some sexy breathiness.
Best known for ‘Looking From A Hilltop’ in 1984, the song’s husband and wife vocalists Larry Cassidy and Jenny Ross have sadly since passed away. So it was highly appropriate that for SECTION 25’s recorded return, fronting the former punks would be Larry and Jenny’s daughter Bethany. She does a fine job with this danceable synth led ditty which captures that classic hedonistic Manchester vibe that recalls THE OTHER TWO’s ‘Tasty Fish’.
Available on the download EP ‘Invicta’ via Fac 51 The Hacienda
SOFT METALS are a newish electro duo comprising Patricia Hall and Ian Hicks. Now resident in Los Angeles, they have an accessibly minimal sound with Hall’s pretty vocals being a particular delight and reminiscent of Dot Allison’s flirtatious aura. ‘Eyes Closed’ is probably the highlight from their very promising self-titled debut album, elements of ORBITAL creeping into the danceable bleep fest.
Available on the CD ‘Soft Metals’ via Captured Tracks
Stefan Storm and Oskar Gullstrand hail from Gavle in Sweden. Both filmic and musical elements are important factors in THE SOUND OF ARROWS. Produced by Richard X and featuring a sweet guest vocal from Sarah Nyberg Pergament aka action biker, the choral patches and the symphonic templates are just so reminiscent of OMD. Coupled to some fantastically optimistic ambition, ‘Longest Ever Dream’ is a panoramic joy!
Featuring mournful violin by Chris Payne from The Gary Numan Experience, ‘What Do You Want?’ is the first TENEK track that could be described as possessing a degree of beauty. The Brtish duo’s more rousing anthemic style takes a breather here and although this has more in common with their other ballad track ‘The Art Of Evasion’, the subtlety and strings add a new sonic dimension to the developing TENEK sound.
TIGER BABY are a Copehagen trio led by singer Pernille Pang with Benjamin Teglbjærg and Nikolaj Tarp Gregersen in synthetic support. They released their debut album ‘Noise Around Me’ in 2007. Stylistically, this has all the unmistakeable melodic sensibility that Scandinavian pop acts seem to naturally possess as pretty arpeggios and wispy vocals combine for some dream laden electro accompanied by a fabulous video.
Available on the CD ‘Open Windows Open Hills’ via Gunhero records
VILE ELECTRODES are a colourful beat combo who combine analogue synths with fetish fashion. Their sound could be described as THE SMITHS reincarnated as CLIENT but ‘My Sanctuary’, the closing track on their debut EP is a sweeping moody epic that recalls imperial phase OMD. Anais resigned melancholic vocal gives that ice maiden demeanour over glorious symphonic synth strings and deep sombre tones. It’s magnificence embroiled.
They’re the 21st Century equivalent of THE TEARDOP EXPLODES but with no brass. WHITE LIES however are much more bombastic with synths carrying melodies and assorted effects. Driven by a sweeping theme and deep bass thud before leading to a sense of urgency in the verse, a thoroughly anthemic chorus doesn’t appear until halfway to increase tension. This is possibly what TX could have sounded like if Julian Cope hadn’t gone to live under a tortoise shell!
Available on the CD ‘Ritual’ via Fiction/Polydor Records
Chugging arpeggios, clattering primitive drum machines and slightly unorthodox vocals, minimal duo XENO & OAKLANDER give a brilliantly vibrant offering of vintage futurism. ‘The Staircase’ is their most immediate offering yet. Based in Brooklyn, part of their authentic Europeanism comes from Liz Wendelbo’s wispy French / Norwegian charm. Writing with partner Sean McBride since 2004, they successfully supported JOHN FOXX & THE MATHS in 2011.
Available on the CD ‘Sets & Lights’ via Wierd Records
Those dark Nordic nights certainly have their effect as this cynical tune from this Finnish duo indicates. Comprising helpfully of two friends Tapio and Matti, ZEBRA & SNAKE fuse vintage electronics with a touch of ambient dexterity as an “artistic form of therapy”. ‘Empty Love Song’ is suitably bittersweet and sounds a bit like MGMT’s ‘Time To Pretend’ after six months in deep freeze! However, despite its lyrical stance, it possesses a grand anthemic quality.
In 1996, SNEAKER PIMPS released the highly acclaimed ‘Becoming X’. Labelled as trip-hop and featuring the hit singles ‘6 Underground’ and ‘Spin Spin Sugar’, this was the only album recorded by its original line-up of Kelli Ali, Liam Howe and Chris Corner.
Since then, singer Kelli Ali has forged herself an acclaimed solo career while instrumentalist Liam Howe produced MARINA & THE DIAMONDS’ ‘The Family Jewels’.
But it is Chris Corner, who took on vocal duties after Kelli Ali’s departure on the albums ‘Splinter’ and ‘Bloodsport’ that has had the greatest success as IAMX. So the title of that debut indeed turned out to be quite prophetic.
Now domiciled in Berlin, where Corner has found “the spirit to care less about the music industry and take an independent route”, his albums ‘Kiss + Swallow’, ‘The Alternative’ and ‘Kingdom of Welcome Addiction’ have captured an electro Gothic aesthetic that combines the theatrics of Weimar Cabaret with themes of sex, alienation and dependency in the best tradition of DEPECHE MODE and NINE INCH NAILS.
Despite the lyrical and aural fervor, Corner’s songs are strongly melodic with an accessible grandeur. It’s interesting to note that a significant number of IAMX’s fanbase are female, the emotional drama obviously striking a chord, in a manner of speaking, like HURTS gone Emo.
New album ‘Volatile Times’ is coloured by the dark climes of the present and it is in support of this long player that IAMX are here tonight in Cologne.
Largely ignored in the UK, the tour therefore focuses on Germany and Eastern Europe where IAMX’s following is strongest. Less immediate and more understated than its predecessor, ‘Volatile Times’ is Corner’s most introspective collection yet.
But the IAMX live experience concentrates on strong rhythmical tension and stark minimal lighting with the live band of Corner, Janine Gezang (synthesizers, guitar, percussion and backing vocals), Caroline Weber (drums) and Alberto lvarez (guitar, bass, percussion and backing vocals) all presented as shadowy figures against a backdrop of arthouse expressionist cinema. Addressing the crowd in Deutsch, Corner has everyone in the palm of his hand as his frantic vigour hypnotises all who are present.
Beginning with ‘Music People’, the backing track sounds like it was originally recorded on a tape machine with flattening batteries that has now been played back with voltage fully restored. It provides a spectacular opening crescendo as it speeds to infinity and beyond!
The steadfast ‘Volatile Times’ title track follows but it is ‘Nightlife’ from ‘The Alternative’ that first lets some light in. The big booming synths and dance tempo make it a fine example of what DEPECHE MODE should sound like in the 21st Century. Also cut from the same cloth is ‘Nature Of Inviting’, the solid sequenced bassline complimented by noisy treated guitars and Corner’s vocals which combine vulnerability and aggression.
Meanwhile, the ‘Volatile Times’ superb lead single ‘Ghosts Of Utopia’ has instant appeal with its exhilarating mechanical drive and electrickery… his scream of “this is psychosis” is wholly believable! On ‘My Secret Friend’, Gezang takes the part of IMOGEN HEAP on a blessed and brooding duet with Corner, backed by buzzing tones and tinkling ivories. The stomping percussive strut of ‘Tear Garden’ (a pun on Tiergarten in Corner’s adopted home city of Berlin) is vibrant and strangely euphoric with Gezang, Weber and lvarez all banging drums in unison to provide one of the eveningÍs first highlights.
‘I Salute You Christopher’ as a rich sonic interlude before the detuned tones of ‘Fire & Whispers’. Corner often sings of contradiction; the confusion is very much part of the package, reflecting the uncertain times of today. So it’s the brilliance of ‘Think Of England’ that captures these mixed feelings. The words “I just can’t think of England, I can’t see the picture, I’m still running from the fire” run so true.
The industrialised squelch of ‘Kiss & Swallow’ is an apt reminder as to why Corner has become such a cult hero since IAMX first appeared in 2004 while the cinematic waltz of ‘President’ conjures up images of domination and self-resignation auf ‘Nightporter’, both the Dirk Bogarde film and JAPAN song. Disturbingly militaristic with the snare tattoo of OMD’s ‘Maid Of Orleans’ as its backbone, Corner’s soaring synth solo cuts into the soul with this aural examination of the forbidden zone.
For the tremendous encore comes the 6/8 rhythm swing of ‘The Alternative’. It’s a full electroglam rock out while the apocalyptic synthdisco of ‘Skin Vision’ from ‘Kiss & Swallow’ gets given a welcome airing. But it’s the glorious intensity of ‘Spit It Out’ which provides a fitting, starkly Eurocentric climax to the evening. Sadly, there’s no ‘Kingdom Of Addiction’, but with paeans to love and obsession galore, IAMX deliver a great journey to the Dark Side Of The Moog.
A mechanical cabaret with lots of words ending in “-ion”; easy listening it certainly isn’t, but potently enjoyable it is.
With the deluge of haunting East European scales and neo-classical flourishes, this could be the sound of MUSE but with 50% extra synths… free! Once again, the UK is decidedly ignorant while its EU neighbours are ahead of the game.
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, IAMX is again penetrating the sensitivities of the European psyche.
is released by Republic of Music/BMG
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