John Fryer is the man behind many contemporary projects, which include the wonderfully ethereal MURICIDAE and the eccentric, shiny and glittering SILVER GHOST SHIMMER.
Having previously been living-in part of London’s Blackwing Studios, working with FAD GADGET, DEPECHE MODE, YAZOO, COCTEAU TWINS, THIS MORTAL COIL and NINE INCH NAILS, with such a wealth of experience, John Fryer cannot do anything else but dirty his hands in the music of “old, new and future”.
Last year saw the rise of his latest enterprise, BLACK NEEDLE NOISE, which caused a stir amongst the fans of the quirky persona with an impeccable musical eloquence.
With the release of a new song ‘Swimming Through Dreams’ featuring the vocals of Mimi Page whose voice was heard on ‘Open Page’ from the most recent DELERIUM long player ‘Mythologie’, ELECTRICITYCLUB.CO.UK is chatting to the master himself about the story of BLACK NEEDLE NOISE, its future and Fryer’s plans for world domination.
You’re globally known for working with acts spanning from DEPECHE MODE to NINE INCH NAILS, what made you decide to present your own projects to the world?
It’s been amazing working for so many talented artists and I’m very proud of all the records I’ve made over the years, but at the end of the day, you are working on their music, even though I take it very personally and treat their records as if they were my own, but nothing beats making your own art.
MURICIDAE and SILVER GHOST SHIMMER were both successful projects with in-house vocalists. BNN is different in that respect…
When I was writing for those bands and DARKDRIVECLINIC, I wrote lots of other music that didn’t really fit into their sound, so I was left with lots of songs. So I decided to go down another route and this time not have the boundaries that bands put upon you. So with BLACK NEEDLE NOISE anything goes.
The name of the project came from the sound of a stylus on a vinyl record, that certainly has a vintage reference?
Well, that is one visual point. The other one came from watching the series ‘Black Mirror’. Picture this, you take your vinyl records and melt them down into a liquid form, then you inject them into your body. Then you have the music you love to totally take over your body. To feel from the inside.
The use of various vocalists paints different soundscapes. Is that what you were planning to achieve?
Yes, each song has its own life, its own story to tell and is its own movie. Just close your eyes, drift away and let yourself get taken on many journeys.
The journey started with ‘Wild Stone’. Why did you decide to kick off with that one?
Well, the BLACK NEEDLE NOISE story started with ‘Bang Bang’, a Nancy Sinatra cover.
‘Wild Stone’ was the first song release as a collaboration and was a good jumping off point as it sounded completely different from my other three bands, DARKDRIVECLINIC, MURICIDAE and SILVER GHOST SHIMMER.
‘Before The Tears Came’ became an unusual project with songs released monthly and finally put together on an album. Is that what the master plan was?
Yes, and I’m continuing in that way so you don’t have to wait a year or two for the next album to be finished. Whenever a song is finished, it gets released. Why sit on something for a year or two before you release it. Why not just put it out?? We live in a digital age so why not use it??
Your choice of vocalists on the outing is rather eclectic. What prompted using specific artists for specific songs?
I admire all the singers I have worked with and am working with on the new songs. The only reason they have been released in that order is, I send out the music and whatever song comes back with vocals first gets mixed and released. Then, when there are enough songs, I put them together to make the album and adding a track just for the album. I will do the same for the second album too.
‘Mourning Morning’ could have been a lost Bowie piece, is that your tribute to the man?
JF: Well, no, it’s just that Andreas Elvenes has a very Bowie-esque voice and it really suited that track. ‘Dead Star’ is more of a tribute to the amazing talent of Mr David Bowie.
Some artists return more than once, what’s the reason for that?
It really depends on the songs and if the artist has time to fit another song in. BLACK NEEDLE NOISE should not become a burden to them, it should be fun. Anyway I’m really grateful and honoured for them just to sing on my music once let alone twice.
‘Bang Bang’ featured your voice and ‘I Face The Wall’ continues the trend. Did you feel like those two suited you to sing on?
Yes, I think they worked out pretty well and there will be another one on the new album in the near future.
Your shimmery touch of anything vintage adds to the songs on the production, are we to expect more of BNN in those realms?
You can expect more BLACK NEEDLE NOISE in that realm and many other realms of shimmery shiny noise pop.
Your self-confessed use of softsynths does not take away that vintage feel of the music. How is that achieved?
That is the magic of the audio alchemy and sound sculpting that goes on in my studio.
Are MURICIDAE and SILVER GHOST now retired with BNN thriving?
I would have to say probably yes, well SILVER GHOST SHIMMER for sure as Pinky no longer wants to do anything else. She made a classic album with me and now she is totally happy doing other things with her life.
Any plans to produce other acts again?
Yes of course, I’m writing with and producing someone right now and I’m always mixing songs for other artists + fitting in some new BLACK NEEDLE NOISE songs. I never stop working.
As hard as it would be to tour BNN, any DJ sets you’re planning to perform?
I would love to do more DJing but I never get asked, so if anyone one out there wants me to come and DJ. Let me know.
I want to play live with BLACK NEEDLE NOISE, it’s just figuring out how to do it and with whom. Maybe later in the year something will happen.
What’s next for BLACK NEEDLE NOISE?
The next song features Ana Breton from DEAD LEAF ECHO.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to John Fryer
But there were plenty of quality songs on offer throughout the year and a number were significantly outstanding.
Rounding down to a final 30 songs is always difficult and among the acts in the initial shortlist were ADAM IS A GIRL, DELERIUM, EMIKA, KALEIDA, LADYHAWKE, METROLAND, PRESENCE OF MIND, REIN, FIFI RONG, SPRAY, WHITE LIES and the now disbanded ANALOG ANGEL.
After much deliberation and with a restriction of one song per artist moniker, here are ELECTRICITYCLUB.CO.UK’s 30 Songs of 2016 in alphabetical order…
APOPTYGMA BERZERK Rhein Klang
Futurepop veteran Stephan Groth certainly put his head on the line releasing an instrumental Sci-Fi concept album as an APOPTYGMA BERZERK long player. But with influences like KRAFTWERK, TANGERINE DREAM and Jean-Michel Jarre, ‘Exit Popularity Contest’ was an artistic success. Full of Groth’s electronic lifeblood, ‘Rhein Klang’ was a wonderful oscillating slice of synth motorik in tribute to NEU!
Johan Baeckström first gained recognition as part of DAILY PLANET with vocalist Jarmo Ollila. His first album ‘Like Before’ drew favourable comparisons to Vince Clarke. A competent vocalist himself, the long player’s title song instantly recalled the glory days of ERASURE with its precise, yet emotive synthpop with a message to “swim the oceans like before”.
Available on the album ‘Like Before’ via Progress Productions
BEYOND THE WIZARDS SLEEVE’s ‘Diagram Girl’ was the work of Erol Alkan and Richard Norris, formally of THE GRID. Featuring the unisex vocals of Hannah Peel, a deeper pitch shift provided a psychedelic out-of-this-world feel which bizarrely fitted in alongside the songstress’ dreamily breathy tones. Meanwhile the pulsing electronic soundtrack had surreal echoes of OMD.
BLACK NEEDLE NOISE featuring KENDRA FROST Warning Sign
It can be tricky keeping up with the prolific studio legend John Fryer. His BLACK NEEDLE NOISE project employed a flexible lead vocal policy and focussed on just single songs. Magically breathy, ‘Warning Sign’ employed the soaring vocals of Kendra Frost from KITE BASE against a spacious backdrop of synths, beats and guitars for a brooding sonic amalgam.
With a mighty Linn Drum engine room that would make Martyn Ware proud and some rugged lead synth, ‘Hundred Hands’ was the best track on CIRCUIT3’s debut album. The work of Dublin-based Peter Fitzpatrick, he even dropped in hints of KRAFTWERK’s ‘Showroom Dummies’. The parent album ‘siliconchipsuperstar’ was classic styled synthpop made by someone weaned on classic synthpop.
The elegiac ‘Thank You’ utilised some ‘Endless Endless’ vocodered stylings over layers of sweeping synthetic strings and a gentle metronomic pulse. A list of Rusty Egan’s musical heroes, this tone poem was a touching acknowledgement of electronic music’s marvellous history. A simple yet highly effective idea, the beauty is in its realisation. Appropriately, it ends with a touchingly poignant “VISAGE… thank you”.
‘A Man & A Woman’ was a surprise in that it was less rigid than previous JOHN FOXX & THE MATHS recordings. Featuring some enchanting whispers from the seemingly ubiquitous Hannah Peel, it was an interesting departure that even featured some subtle acoustic guitar flourishes. Foxx’s work is still under-appreciated so ‘21st Century: A Man, A Woman And A City’ provided a chance to catch up.
Welsh songstress Ani Glass served her apprenticeship with girl groups GENIE QUEEN and THE PIPETTES and worked with Andy McCluskey and Martin Rushent respectively along the way. ‘Y Ddawns’ (‘The Dance’) was a wonderfully exhilarating pop art adventure. Swathed in synths and driven by a metronomic beat, it was a declaration of hope, deeply voiced in the verse with a gorgeous soaring resonance in the chorus, about “finding solace and meaning in music, dance, art and culture”.
Helsinki-based Ringa Manner has been making crystalline sine waves as THE HEARING. Her second album ‘Adrian’ boasted the sub-eight minute epic ‘Kabeldon’. A outstanding electronic work with an affinity to Norwegian songstress Susanne Sundfør, there were also bows to DAVID BOWIE’s ‘I’m Deranged’ when the mad cascading piano kicked in alongside the frantic drum ‘n’ bass and steadily building cacophony of noise. Then, when it appeared all over, the song mutated into an eloquent Nordic dubstep ballad!
Available on the album ‘Adrian’ via Solina Records
The project of Julie Kathryn, the haunting tension of ‘Losing Face’ accentuates a variety of electronic and organic colours. A muted chop’ n’ chuck provides the percussive backbone while an eerie soundscape is steadily configured as Kathryn succumbs to lust. “You’re different when you’re on top of me… how I hate the state I’m in” she paradoxically reflects, as bubbling detuned synth swirls and acoustic guitar penetrate the foreboding atmosphere in the vein of ‘Felt Mountain’ era GOLDFRAPP.
JEAN-MICHEL JARRE & CYNDI LAUPER Swipe To The Right
After decades of composing lengthy synth symphonies, there must have been times when the French maestro must have just wanted to do a four minute pop tune. This Jean-Michel Jarre managed in a quirky collaboration with Cyndi Lauper. No stranger to electronic forms, particularly with her under rated ‘Bring Ya To The Brink’ album of 2007, ‘Swipe To The Right’ had big bass riffs galore for a great poptastic exploration, while reflecting on the use of Tinder in modern relationships.
KID MOXIE is Elena Charbila, the Greek born singer and actress who likes to make music with friends. Working best in collaboration, her well-received album ‘1888’ showed she had blossomed and displayed an inventive maturity following the gutter pop of her early releases. From her best body of work yet in ‘Perfect Shadow’, the seductive ‘Still High’ was gloriously cinematic synthpop with a touch of maiden iciness that affirmed this artistic progression.
Available on the mini-album ‘Perfect Shadow’ is via West One Music Group
One-time label mates of MARSHEAUX, LIEBE are the electro disco duo comprising of George Begas and Dimos Zachariadis who could be considered the Greek PET SHOP BOYS. Sitting on that difficult bridge between pastiche and post-modern, their romantic disco friendly sound mines Europop while adding the vocal drawl of Jarvis Cocker. The magnificent Jean-Michel Jarre goes Italo disco of ’The Box’ was the highlight of their wonderfully escapist pop album ‘Revolution Of Love’.
Recorded in London and Athens, a new approach saw MARSHEAUX’s trademark wispiness blended in with a subtle tone of aggression. The opening song on ‘Ath.Lon’, the album title of which was derived from the cities of Athens and London, ‘Burning’ was a harsh but sexy slice of synth expressionism. While clearly referencing darker electronica forms with its hypnotising percussive motif, it crucially maintained the essence of a good tune.
With their new album ‘Looking Skyward’, MESH alleviated any fears that they might not be able to sustain the artistic momentum seeded by 2013’s ‘Automation Baby’. Despite the lyrically negative nature of ‘The Fixer’, a driving bass triplet attached to a solid four-to-the-floor beat and an anthemic topline shed a light of optimism amongst the gloom. MESH have firmly carved their own niche and any disillusioned DEPECHE MODE fans should consider joining the fold immediately…
In August 2015, METROLAND’s sound engineer and close friend Louis Zachert, aka Passenger L, passed away. The Brussels based duo recorded ‘Things Will Never Sound The Same Again’, a musical eulogy created from scratch as their way of paying homage to their fellow passenger. The uplifting ’Music / Machine’ with its Jarre-esque melodies started as a METROLAND remix of MUSICOCOON, a project involving Louis and his friend Philippe Malemprée. Kindly donated, its presence is in honour of Louis as the last piece of music he ever worked on.
Buoyed by the acclaim of their EP trilogy and their power as a live act, NIGHT CLUB experimented with a more aggressive synth rock disco sound for their debut long player ‘Requiem For Romance’. Playing around with a range of unsettling vocal pitch shifts and religious imagery for the sinister overtones of ‘Pray’, Emily Kavanaugh and Mark Brooks have more than substantiated their position as one of North America’s best independent electronic pop duos.
It’s been a busy year for Hannah Peel; layered with staccato voice samples and uplifting bursts of symphonic strings, the driving arpeggio laden ‘All That Matters’ was her calling card, not just as her most synthpop offering yet but also as a mantra to live in the moment. The opening track of her second album ‘Awake But Always Dreaming’, her very personal musical journey themed around memory and the effects of dementia was a startling artistic triumph.
Never mind their age, PET SHOP BOYS are still ‘The Pop Kids’ and ‘Twenty-something’ ones at that. But on the moodier ‘The Dictator Decides’, there comes one of those politically laced introspective numbers in the vein of ‘My October Symphony’ and ‘Don Juan’ that Tennant and Lowe always do so well. As Tennant deadpans “if you get rid of me, we can all be free”, the song provides an amusing surreal narrative of a tyrannical politician bored of his outright power and wanting to live a normal life.
From the Cold War Night Life curated ‘Heresy: A Tribute To Rational Youth’, one of the highlights from the collection is PSYCHE’s take on ‘Ring The Bells’ from appropriately, RATIONAL YOUTH’s ‘Cold War Night Life’ debut. The clattering 808 beat and elegantly haunting sweeps combined with Darrin Huss’ mournful vocal provide an atmospheric reworking that betters the original and reflects the decades long kinship between RATIONAL YOUTH and PSYCHE.
Greek electropop goddess Sarah P. started her music career as the frontwoman of KEEP SHELLY IN ATHENS. With ‘I’d Go’ she said: “Most of the people do not get that this song is not as happy as it sounds at a first listen”. In her own words she confesses: “I’m a childish woman and nobody can stop me from being one” and adds “If there’s anything I stand for with all my heart is the ‘Go be you’ motto!” – her full length debut long player ‘Who Am I?’ is eagerly awaited.
Available on the mini-album ‘Free’ via EraseRestart
Enigmatic Gothenburg electronic trio SILENT WAVE possess the hauntronica hallmarks of fellow Swedes THE KNIFE. ‘War’ is a reminder of how that sibling duo once combined tunes with their experimentation. With a suitably dark Nordic vibe, it could easily have come off ‘Silent Shout’ and while the template is undoubtedly derivative, ‘War’ is extremely well executed.
Available on the download single ‘War’ via Silence Records
With his career spanning 10 CD box set ‘Trials Of Eyeliner: Anthology 1979-2016’, the last thing anyone expected from Marc Almond this year was an electronic pop album. Almond first recorded with Anglo German production duo STARCLUSTER in 2008. A great cover version, ‘To Have & Have Not’ was originally recorded by RONNY and retains the stern manner of the former Parisian model, while giving this slice of modern Weimar Cabaret a new lease of life.
Available on the album ‘Silver City Ride’ via Closing the Circle / Private Records
An appearance at the 2015 ELECTRI_CITY_CONFERENCE in Düsseldorf reinforced TINY MAGNETIC PETS’ reputation as an intriguing live act by winning over figures such as Rusty Egan and Andy McCluskey. The soulful ‘Not Giving In’ makes the most of Paula Gilmer’s enticingly wispy voice. With detuned pulses contrasting the digital chimes and staccato voice samples, an unusual stuttering reggae inflected beat enhances the atmosphere.
Highly exuberant and featuring a poptastic four chord progression, ‘Believe In Love’ was TRAIN TO SPAIN’s first recording to feature producer Lars Netzel aka NOT LARS as a full-time member. It developed on the promise of songs like ‘Passion’ from their debut album ‘What it’s All About’ released in 2015 and significantly gave more space within Jonas Rasmusson’s classic synthpop framework for lead singer Helena Wigeborn to exude her charm in. But it seems TRAIN TO SPAIN are back to a duo again…
Available on the download single ‘Believe In Love’ via Subculture Records
‘River In Me’ was an unusual Trentemøller recording in that Jehnny Beth from SAVAGES actually came to his home studio in Copenhagen to lay down her vocals. The end result possessed a Gothic intensity, yet was vibrant and melodic with Beth’s Siouxsie-like tones complimenting the hybrid synth laced soundscape. While some complained that ‘River In Me’ was not as dark as the Dane’s previous work, it was his most immediate offering yet with a fine balance of accessibility and mood.
It’s the avant pop approach reminiscent of early OMD that sets VILE ELECTRODES apart from and makes them so captivating. ‘The Vanished Past’ is a potent successor to the drama of ‘Deep Red’, complete with a mighty drum cacophony à la OMD’s ‘Navigation’. Bleak and wonderful, “not everything is as it seems” as a forlorn stranger joins in. As the seven minute adventure unfolds like a lost OMD epic, that stranger begins to sound like a certain George Andrew McCluskey!
From their superb second album ‘Ultima’, ‘Stranger’ was a brilliant return for VILLA NAH after a five year absence. Front man Juho Paalosmaa said: “‘Stranger’ is a play on words; how somebody you’ve known can turn stranger over the span of time… and end up as a complete stranger in the process. I don’t think it’s a track I would’ve written as a 20 year old. It requires some years of age and experience to really understand how time can change people, including yourself.”
Available on the album ‘Ultima’ via Solina Records
If CABARET VOLTAIRE had hijacked Compass Point Studios in The Bahamas while TALKING HEADS were recording ‘Speaking In Tongues’, the end result might have ended up sounding a bit like this. ‘Stupid’ sees Stephen Mallinder in warped falsetto mode over a hypnotic sequence of menacing synths from Benge and Phil Winter. The track’s rhythmic heart creates an almost robotic, yet electro-funk feel for one of the undoubted highlights on WRANGLER‘s ‘White Glue’ album.
Despite 37 years of making music together, the distinctive sound of YELLO remains intriguing and distinctly European and the new album ‘Toy’ delighted fans. On the superb ‘Electrified II’ (the original version appeared on Boris Blank’s boxed set of the same name), Dieter Meier has his mind blown by the velvet voice of Malia. As she exclaims “Life’s a bitch and I’m no witch”, this could be Shirley Bassey indulging in some seductive energetic electro-cabaret.
Available on the album ‘Toy’ via Polydor / Universal Music
John Fryer… The man behind many contemporary projects, including the atmospheric, wonderfully ethereal MURICIDAE and the glittering, eccentric, fully extravagant dark electronica of SILVER GHOST SHIMMER, does not rest before introducing his brand new concept into the amazing catalogue of most capable productions.
Having pretty much been a living-in part of furniture in London’s Blackwing Studios for nearly a decade, he was instrumental during the most prominent years of synthpop. Co-engineering acts spanning from DEPECHE MODE, FAD GADGET, DEAD CAN DANCE, CLAN OF XYMOX to COCTEAU TWINS, Fryer was also responsible for the biggest album by NINE INCH NAILS, ‘Pretty Hate Machine’. With such wealth of experience and impeccable musical eloquence, Fryer, now living and working in Oslo, calls himself a producer of “old, new and future”, a man liking to be full-on, having his “hands dirty in the music”.
His latest project BLACK NEEDLE NOISE takes its name from the sound made by a stylus on vinyl record, and is described by the master himself as “music for the movies you haven’t dreamt of yet”. ‘Before The Tears Came’ describes the emotion embodied in tears of joy or sadness while experiencing the opus, where “each song should have its own life, its own story. Take you on a strange and interesting journey”. This newest audio alchemy by Fryer is “its own movie”, which is performed by different vocalists, to suit a particular mood, to paint a different soundscape.
The journey starts with the gritty sound of ‘Wild Stone’ with freshly sounding vocals by Zia, plus impeccable bass and surprising addition of trumpets. You’re taken by hand, “all the way” into the core of the production via ‘Vexation’ featuring Jarboe; a mantra about the “syndrome of blaming other people instead of taking personal responsibility for your own actions”.
Ledfoot is the chosen voice for ‘3 Steps Backwards’. The creator of the genre of Gothic Blues performs this avant grade track with his signature vocal and musical uniqueness, before Andreas Elveness takes to the stage with ‘Mourning Morning’. The track, easily could have been a lost Bowie piece, with the dark aura of electronic connotations, while Antic Clay (duly recommended to Fryer by Jarboe) lends his help on ‘Queen Of Dust’. Here’s where BLACK NEEDLE NOISE is taken to Americana Noir, with the Tarantino inspired track filled with fuzzy guitars and pronounced bass.
Jarboe returns on ‘Human’, which, true to her manifesto, “closes the gap in the audience / performer relationship” by enticing singing style, which almost draws one in deeper, with the excellently landscaped production. Attasalina, whom Fryer met in Ojai, California via Daniel Ash of BAUHAUS, performs on ‘Messages By Dreams’. A scarce addition of sharp guitar riffs glides around electricity laden synth, punctuating the acute feeling of this creation.
Meanwhile Elena Alice Fossi is ‘Behind The 4th Door’, waiting to seduce with her Madonna-like vocal. Described as “extra-terrestrial pop irradiations”, this uptempo track makes you want to open the 5th door to discover ‘Dead Star’ with Betsy Martin in charge of the microphone. A bride to SILVER GHOST SHIMMER’s bass player Kevin Kipnis, the lady knows how to use her unusual vocal. Elena Alice Fossi, again excels on the most alluring track on the opus, ‘Naughty Girl’, before the master himself under a pseudonym of Dr Strangefryer closes the production with ‘I Face The Wall’.
Fryer previously lent his voice to the first ever song BLACK NEEDLE NOISE produced, ‘Bang, Bang’, and here he wraps up the collection with a gyrating rhythm of filthy synth, shaping his sonic sculptures with musical knowhow and production wizardry.
Although the concept of a collection of tunes performed by various vocalists has been frequented before, with the notable example of Alan Wilder’s RECOIL project, Fryer explores miscellaneous artists and finds the collaborations “interesting, as (he) likes to watch them bring something different to the music”.
Each song hits from different angle, tells a different story and evokes different emotions. All those, laced with a masterful dose of Fryer’s production, which is second to none, amount to a truly eclectic collection of grown up, arty Grindtronica overtones, which takes the listener to a level of pleasure never experienced before.
John Fryer has done it again, but who could doubt that he wouldn’t?
The user manual for the Roland System 100 semi-modular synthesizer profoundly stated “there are no illegal connections…”
And in modern electronic music, that is still the case with the accomplished artists of today very much connected to the synth pioneers of yesteryear like KRAFTWERK, OMD, ULTRAVOX, JAPAN, DEPECHE MODE and THE HUMAN LEAGUE.
Belgian duo METROLAND would not exist without the tradition established at Klingklang, while EAST INDIA YOUTH’s interest in BRIAN ENO and Motorik beats curated a sound that has enabled parallels to be drawn with the artful template of the similarly influenced Paul Humphreys and Andy McCluskey.
And although Susanne Sundfør was already an established singer / songwriter in her homeland of Norway, attention was not fully drawn on her new synth based direction until she performed a sympathetic cover of ‘Ice Machine’ with RÖYKSOPP in late 2012.
Even the exquisite lo-fi Welsh language electronica of Gwenno can be traced to Sheffield, thanks to the songstress’ previous pop excursions which involved working on an album with the late Martin Rushent. As Jean-Michel Jarre said: “Electronic music has a family, a legacy and a future…” so to deny the glorious heritage of electronic music when assessing new acts would be futile. Indeed, acknowledging history is very much part of ELECTRICITYCLUB.CO.UK’s style and it appears to have been appreciated, especially in regard to the feature ‘30 Favourite Albums 2010 – 2014’, one of a quintet of special articles to celebrate the site’s fifth birthday in March…
“Huge thanks to ELECTRICITYCLUB.CO.UK” said avid reader Hugh David, “A victory for well-written, artfully conveyed content curation once again… you knew exactly what to say to sell me on one artist or another. That rare ability of a reviewer to pinpoint the precise comparisons that enable me to decide to seek something out based on my own tastes is something lacking in so many other outlets; love that you’ve got that in spades”
Another reader David Sims added: “ELECTRICITYCLUB.CO.UK is a great way of discovering artists you might not otherwise be aware of. A bit like when a friend used to come round your house clutching an LP or C90 saying ‘I really love this, have a listen’, introducing you to new music that makes your neck hairs stand up in ovation”
2014 was a comparatively lean 12 months, but this year found many veterans returning to the fold. NEW ORDER released ‘Music Complete’, a much discussed comeback that was not only the Mancunians’ first album for Mute, but also without estranged bassist Peter Hook.
Marc Almond released ‘The Velvet Trail’, his first pop album for many years while ANDY BELL embarked on further solo adventures in support of ‘Torsten The Bareback Saint’.
SPARKS joined forces with FRANZ FERDINAND as FFS while telling everyone to ‘P*ss Off’ and proved that collaborations do work. Electronic music legend Jean-Michel Jarre also went the collaborative root. His first album for several years ‘Electronica 1 – The Time Machine’ featured the likes of LITTLE BOOTS, TANGERINE DREAM, AIR, GESAFFELSTEIN and MASSIVE ATTACK along with ArminVan Buuren, John Carpenter and Vince Clarke.
Another legend Giorgio Moroder made his statement of intent with ‘74 Is The New 24’ and released ‘Déjà Vu’, a disco pop record featuring the likes of Sia, Britney Spears, Foxes and Kylie Minogue.
Meanwhile, his artier counterpart Zeus B Held gave us some ‘Logic of Coincidence’ and Wolfgang Flur made his solo debut with ‘Eloquence’, his first length album project since 1997.
Liverpool duo CHINA CRISIS delivered ‘Autumn In The Neighbourhood’, their first original material since 1994’s ‘Warped By Success’ while Howard Jones showed he could still innovate at 60 years of age when he launched ‘Engage’, “a highly interactive live experience designed to immerse audiences in an audio / visual feast”. A-HA came back after disbanding in 2010 with ‘Cast In Steel’ and DURAN DURAN recruited an all-star cast that included Nile Rodgers, John Frusciante, Kiesza and Lindsay Lohan for the rather disappointing EDM blow-out ‘Paper Gods’.
BLANCMANGE’s ‘Semi Detached’ was Neil Arthur’s first without long-time partner Stephen Luscombe and he even found time to release a wonderful instrumental collection entitled ‘Nil By Mouth’. Indeed, there were quite a few instrumental opuses in 2015, with GHOST HARMONIC’s wonderful ‘Codex’ featuring John Foxx and the electronic pioneer’s own glorious ‘London Overgrown’.
DEPECHE MODE’s Martin Gore released the tutorial for his new Eurorack modular system as the simply titled ‘MG’. 2015 saw the 25th anniversary of DEPECHE MODE’s ‘Violator’ and to ignore its significance, as some DM fan related platforms did, would have been incredibly short sighted. However, there was none of that from premier DM tribute band SPEAK & SPELL who played their biggest UK gig yet with a splendid boutique showcase of that landmark album at London’s Islington Academy.
CAMOUFLAGE, a band who started off very much under the influence of the Basildon boys, issued the mature statement of ‘Greyscale’ while continuing the DEPECHE MODE album theme, Athens based synth maidens MARSHEAUX gave a worthy of re-assessment of ‘A Broken Frame’ and procured a number of interesting arrangements for some under rated songs. DIE KRUPPS got more metal than machine on their fifth opus ‘V – Metal Machine Music’.
Fellow Germans BEBORN BETON made up for a ten year absence with ‘A Worthy Compensation’ while SOLAR FAKE and SYNTHDECADE also got in on the action too.
CHVRCHES continued their quest for world domination with something that LITTLE BOOTS, LA ROUX, LADYHAWKE and HURTS never managed… a decent second album. But PURITY RING, the Canadian act whose template CHVRCHES borrowed, must have looked over with a touch of envy at the Glaswegian’s success so responded with ‘Another Eternity’.
HANNAH PEEL released an interim mini-album ‘Rebox 2’ which blended centuries of music technology while VILE ELECTRODES came up with the gorgeous ‘Captive In Symmetry’, possibly one of the songs of 2015. EURASIANEYES heeded all the guidance available to them to produce their most accomplished song yet in ‘Call Your God’ and ANALOG ANGEL went on a well-received tour supporting Swedish veterans COVENANT with a message to listeners of ‘Don’t Forget To Love’.
Elsewhere in the British Isles, CIRCUIT3, RODNEY CROMWELL and SUDDEN CREATION made their first excursions into the long player format just as KID KASIO and KOVAK each delivered album number two while Berlin based Brit EMIKA helpfully titled her third opus ‘Drei’.
“So, what’s so special about Sweden then?” someone once rather cluelessly asked TEC. Well, it is the modern hub of inventive, electronic pop. KARIN PARK offered her profanity laden fifth album ‘Apocalypse Pop’.
Still in Sweden, DAYBEHAVIOR went all female PET SHOP BOYS with the Italo flavoured ‘Cambiare’ and MACHINISTA followed up their debut ‘Xenoglossy’ with ‘Garmonbozia’. while there was also the unexpected return of alternative synthpopsters ASHBURY HEIGHTS.
But best of all were the mighty KITE; their ‘VI’ EP was a masterclass in epic, majestic electronic pop. In the rest of Europe, there was an influx of darker female fronted acts such as Hungary’s BLACK NAIL CABARET, Italy’s ELECTROGENIC, Greece’s SARAH P. and Germany’s NINA; the latter’s ‘My Mistake’ even ended up on a Mercedes TV advert. The male contingent did their bit too with Slovenia’s TORUL unleashing their second offering ‘The Measure’ while the prolific Finnish duo SIN COS TAN took things a little bit easier in their fourth year with just an EP ‘Smile, Tomorrow Will Be Worse’, having already released three albums since 2012.
Oslo based studio legend John Fryer returned with two new projects, SILVER GHOST SHIMMER and MURICIDAE featuring vocalists Pinky Turzo and Louise Fraser respectively. Both reminded listeners of his work with COCTEAU TWINS and THIS MORTAL COIL, but with an Americanised twist. The Icelandic domiciled Denver singer / songwriter JOHN GRANT added some funkier vibes to his continuing electronic direction while IAMX moved from Berlin to Los Angeles, and did no harm to his art with the brooding ‘Metanoia’ album.
On the brighter side of North America, PRIEST’s self-titled debut long player became reality following their dreamy ‘Samurai’ EP, while HYPERBUBBLE made available their wacky award winning soundtrack to the short film ‘Dee Dee Rocks The Galaxy’ and joyous 2014 London show. And GRIMES caught the music biz on the hop when she released a new album ‘Art Angels’, having scrapped an album’s worth of material in 2014.
But despite North America itself being one of the territories flying the flag for the synth with acts like NIGHT CLUB, BATTLE TAPES, AESTHETIC PERFECTION and RARE FACTURE all figuring, the worst single of 2015 actually came from the USA! Literally decades of synth heritage were eminently obliterated in five soul destroying minutes… was this really what the Electronic Revolution was fought for? This is cultural history and it needs to be protected.
Although the year had flashes of brilliance, it was generally less impressive overall for fledgling electronic artists, with a number forgetting that all important factor of a good tune! Eddie Bengtsson of SISTA MANNEN PÅ JORDEN remarked last year that synthpop was becoming a dying art.
And in 2015, synthpop’s credibility was further tarnished with lazy use of the term by the mainstream press for acts like YEARS & YEARS; one could argue that Taylor Swift and her ‘1989’ opus is possibly more synthpop than YEARS & YEARS have ever been! In a market where EDM appears to be king and clubbers are happy to witness DJs miming their two hour sets, there is clearly something wrong. Things were not helped by certain media outlets insisting that dance music was the only way; it was as if electronic music had somehow managed to jump from KRAFTWERK to Detroit techno with nothing happening in between.
And then, there were those who had never particularly enjoyed music from that key Synth Britannia period, who were trying to dictate how modern electronic music was being presented and pretending it had popped out of thin air!
Some bands were not doing themselves any favours either, showing little empathetic connection to the history of electronic music in their deluded optimism that they were crafting something completely new! As Jean-Michel Jarre amusingly quipped to Sound-On-Sound magazine: “Lots of people in America think that electronic music started with AVICII and it’s not exactly the truth…”
The lack of accuracy in a number of publications over the last 18 months was also shocking, particularly within magazines and online media that continued to employ writers with a history of not knowing their tape recorders from their drum machines. This simply proved the old adage that just because someone is employed as a professional writer, it doesn’t actually mean they are a good writer!
The domestic live scene had its challenges too with slow ticket sales and a number of events cancelled. But even when some true legends in electronic music were booked, ticket sales could not be guaranteed and efficient promotion was needed to maximise potential.
Some observers were bemoaning a lack of support for the scene, but if line-ups are not particularly appealing, then audiences cannot be expected to invest time and money to attend. A number of organisational infrastructures also lacked credibility; if a promoter doesn’t have at least some idea if they’re going to sell fifty tickets or five thousand, then they really shouldn’t be in the business!
The question that has to be asked then is, has anybody actually learnt from the Alt-Fest debacle of 2014? It really would appear not! While ‘A Secret Wish’ and SOS#2 were a couple of the year’s better UK events, Europe showed once again how things should be done. Electronic Summer in Gothenburg and the Electri_City_Conference in Düsseldorf were two of the most notable electronic music events of 2015.
The inherent knowledge and sense of understanding in both differed immensely to some British promoters. This perhaps could explain why electronic pop has generally flourished more in territories across the North Sea. Electronic pop needs to continue to develop, but quality control must be maintained to ensure the genre is not publically misrepresented. SOFT CELL once sang about ‘Monoculture’ while KID MOXIE declared how everyone was just content with ‘Medium Pleasure’.
If all that’s heard is the best of a bad bunch, then younger listeners (and therefore potential future synth oriented musicians) will not be inspired. That is why it is important that CHVRCHES and EAST INDIA YOUTH consolidate their positions as modern electronic pop’s representatives in the mainstream.
It is not good practice to support mediocre music just because it happens to be electronic. The finest examples need to be set so as to show what can be achieved; now if that means possibly referencing back to the golden age of synthpop, then so be it. Only then will the synth baton be able to taken up by a new generation who can then truly reinvigorate it.
ELECTRICITYCLUB.CO.UK Contributor Listings 2015
PAUL BODDY
Best Album: EAST INDIA YOUTH Culture Of Volume
Best Song: NEW ORDER Restless
Best Gig: EAST INDIA YOUTH + HANNAH PEEL at London Village Underground
Best Video: BATTLE TAPES Valkyrie
Most Promising New Act: BATTLE TAPES
DEB DANAHAY
Best Album: IAMX Metanoia
Best Song: KITE Up For Life
Best Gig: NODE at The Royal College of Music
Best Video: IAMX Oh Cruel Darkness Embrace Me
Most Promising New Act: KITE
IAN FERGUSON
Best Album: EAST INDIA YOUTH Culture Of Volume
Best Song: KITE Count The Days
Best Gig: ASSEMBLAGE 23 at SOS#2 Festival
Best Video: VILE ELECTRODES Captive In Symmetry
Most Promising New Act: RODNEY CROMWELL
MONIKA IZABELA GOSS
Best Album: SILVER GHOST SHIMMER Soft Landing
Best Song: IAMX Happiness
Best Gig: IAMX at London Koko
Best Video: TORUL The Balance
Most Promising New Act: SYNTHDECADE
SIMON HELM
Best Album: LAU NAU Hem Någonstans
Best Song: ME THE TIGER As We Really Are
Best Gig: SISTA MANNEN PÅ JORDEN at A Secret Wish
Best Video: JUNO Same To Me
Most Promising New Act: REIN
CHI MING LAI
Best Album: SUSANNE SUNDFØR Ten Love Songs
Best Song: KITE Up For Life
Best Gig: FFS at The Troxy
Best Video: VILE ELECTRODES Captive In Symmetry
Most Promising New Act: RODNEY CROMWELL
RICHARD PRICE
Best Album: EAST INDIA YOUTH Culture Of Volume
Best Song: NEW ORDER Plastic
Best Gig: EAST INDIA YOUTH + HANNAH PEEL at London Village Underground
Best Video: VILE ELECTRODES Captive In Symmetry
Most Promising New Act: KITE
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
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You’re globally known for working with acts spanning from DEPECHE MODE to NINE INCH NAILS, what made you decide to present your own projects to the world?
Any plans to produce other acts again?
via Hard: Drive
via Progress Productions
via Phantasy Sound
via Metamatic Records
via Solina Records
via I Am Snow Angel
via Columbia / Sony Music
is via West One Music Group
via Emerald & Doreen Recordings
via Undo Records
via Dependent Records
My Own Pleasure
via x2
via EraseRestart
via Silence Records
via Subculture Records
via In My Room
via Solina Records
via MemeTune
via Polydor / Universal Music
, 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.
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