Having taken a diversion in 2023 to work with German Queen Of Synthwave NINA on the ‘Lust’ EP. KID MOXIE is back on the soundtrack trail.
Recorded at her Lemon Tree Studios, the spine-tingling ‘Close To You’ is not a cover of THE CARPENTERS but a self-written song by Elena Charbila for the film ‘Don’t Open the Door’. An independent Greek horror movie by two brothers The Unboxholics has become massively popular in its home. Far from civilization, in a frozen forest on an inhospitable mountainside, a group of researchers is attacked by an unidentified figure. The sole survivor, a young biologist, takes refuge in the isolated cabin of a mysterious man…
Elena Charbila chatted to ELECTRICITYCLUB.CO.UK about this latest commission as well as what else is on the horizon as KID MOXIE…
So was ‘Close To You’ specially written and produced for the film ‘Don’t Open The Door’ or was it a song that you’d had on your computer for a while?
Yes, it was very much specifically for the film, its’ the first song I’ve fully, written, produced, mixed and mastered ever. This film happens to be one of the most successful Greek movies at the domestic box office in decades. It was a scary process as I’d never fulfilled a whole song on my own before. In the past, I’d always done as much as I felt could and then given it over to a co-producer or mixer.
As this was a homemade film, I wanted it to be full home made at my end as well. I locked myself up in my studio and pulled all the blinds down… where I live, there’s a lot of sun usually so for about 3 days, I lived in complete darkness, this is a really dark film and this particular song was going into one of the most pivotal scenes of the film and it’s a really dark scene by subject matter because of the location so I wanted to put myself where the actors were… and that’s how the song was born!
“If you bleed, I die…” is quite a striking statement?
Yes, this might be my favourite lyric in the song, just because it is very striking… I’m into striking things whether that’s a statement or an image. It also goes very much hand in hand the theme of the movie which has to do with karma. It also has something very lethal yet very erotic as a statement, the play on words in that it has something to do with death and has something to do with sex, it’s just very intriguing to me…
… and very Shakespearean too! The Unboxholics have directed the video ‘Close To You’ although the visual aesthetic is quite different from the film trailer?
So part of it was shot on location where one of the film’s pivotal scenes was shot and part of it was shot at The Unboxholics’ home studio which makes it look like I’m in a Ridley Scott set, like I’m in ‘Blade Runner’ or Cyberpunk land or something… I would say half of it matched the aesthetic of the film and half of it matches what I love and what The Unboxholics love which is that neon / vaporwave aesthetic.
You’ve been on social media quite a bit of late, is this a modern “needs must” situation to maintain your profile? Is it pressured or do you actually enjoy it?
I have to say social media has been an acquired taste for me. I’m extremely private, I don’t post private stuff ever, it’s always fantasy stuff. I want people to know that I obviously don’t post very personal or vulnerable stuff for better or for worse. So what you see on social media is not really my everyday life *laughs*
It’s my life in neon, it’s how I would want you to see me. Having said that, it’s a bit of a “needs must” situation in order to maintain it, I’ve put some pressure on myself but then I sort of became an autopilot thing and I just kept it going…
You have a covers album planned for this Fall, can you say anything about its concept and what will be included?
It basically is a recap of all the covers I’ve ever put out and a bunch of covers that are yet to come out. They will be staring to come out in the Fall, one of them is going to be in the new season of the Netflix show ‘Maestro In Blue’ in which ‘Creep’ was featured. I’ve had this need to have all my covers in one chapter because they were all over the place. Call it OCD, I don’t know or call it opening and closing a chapter. I love covers but it’s not what I want to be doing forever. So to put them in one big chapter and call it KID MOXIE ‘The Covers’, that is what is happening.
I know you did a cover of Burning Up’ by Madonna once, will that ever see the light of day?
OH BOY! YES! I DID do a cover of Burning Up’ by Madonna! I was a baby when I did that, I wasn’t very proud of the production or my vocals actually. I had a listen to it maybe a year ago and it was cringey for me! So I will not be putting it out as it is unless it gets majorly reworked let’s just say! 😉
Just as it looked like it would be safe to come out to play, there was uncertainty within the music industry again.
What had become the artists’ favourite platform thanks to its low commission and 0% Fridays, Bandcamp was taken over by Epic Games in 2022 but then following a move by employees to unionise, was sold to Songtradr who immediately dismissed half of its staff… in hindsight, despite its proclamation that this platform cared about the music, it looked like this had been yet another start-up by tech venture capitalists. Just as many acts dropped their own websites in favour of Facebook over a decade ago but were then trapped into sponsored posts to reach the majority of their own fanbase, online shops had been dropped for Bandcamp. So, things are back to square one as many consider a rebuild of their web presence.
Meanwhile, Live Nation CEO Michael Rapino made a controversial declaration that concert ticket prices were generally too low and that artists could easily “charge a bit more”. While THE CURE notably refused to do this and capped their face value tickets at $20 for their US tour, the Live Nation sister outlet Ticketmaster applied excessive booking extras of more than $20 per ticket for a “service fee”, “facility charge” and “order processing”! With dynamic pricing in place at a number of high profile events and so-called VIP tickets on the rise (which didn’t actually include a meet ‘n’ greet but only a nearby bar and a lanyard), fans had their “FOMO” anxieties triggered and simply paid up!
Photo by Chi Ming Lai
Another artist who kept ticket prices low was Midge Ure who embarked on the successful ‘Voices & Visions’ tour after a year’s delay due to uncertainties over the Covid situation in 2022. Complimented by a straightforward but very effective light show and material from his second and third long players with ULTRAVOX ‘Rage In Eden’ and ‘Quartet’, it was a triumph. He was rewarded with a 70th birthday show celebrating his career at The Royal Albert Hall, which despite its plush surroundings was also kept affordable.
Who says an artist has no control over retail pricing? But one band who were shamelessly happy to charge more for concert tickets, more for merchandise and more for physical releases were DEPECHE MODE. For their first album and tour since the passing of co-founder Andy Fletcher in 2022, the remaining members played the death card with ‘Momento Bori’ and managed to plonk an even more underwhelming arena show into the stadiums of the world… at least the ‘Global Spirit’ tour featured risers!
With renowned UK venues such as Printworks and Moles closing down, as had already been highlighted by Juls Garat of US goth band PILGRIMS OF YEARNING via social media in 2022: “If you’re spending a kidney on DEPECHE MODE tickets and not attending a local show this weekend, I don’t wanna see you complaining that there’s no scene, local venues or new music anymore”. However, one seemingly oblivious Devotee said about the inflated ticket prices: “Really don’t know what the issue is. Happily paid £108.00 for a DM ticket. Would have paid more!!”. And therein lays the problem… DEPECHE MODE played a date at Stadion Wankdorf in Bern and that said it all! As the man who Devotees call a genius once wrote: “Some great reward will be coming my way…”
Photo by Chi Ming Lai
As The Devotees wallowed in their collective misery during 2023, the Stockholm Syndrome was stronger than ever. On the Bratislava leg at the National Football Stadium, one of The Black Swarm commented to ELECTRICITYCLUB.CO.UK: “I was there… I must admit, a bit disappointed… but I still love them!!!”. It was business as usual for DEPECHE MODE, with “business” being the operative word. It was reported that so much money had been sucked out of the European alternative music market in particular that a number of acts had to schedule their planned tours to 2024, while others who had made good albums worthy of attention in 2023 got lost in the sea of DM propaganda on the web.
Despite increased ticket prices at all levels, gig etiquette declined to the worst possible standards with the constant chatter and bad manners among some attendees. Surely if you have paid upwards of £30 or more for a show, you might want to pay more attention and enjoy it? ELECTRICITYCLUB.CO.UK has never seen it this bad in the 43 years it has been going to concerts, but this entitled arrogance to talk extremely loudly about total bollocks is a undoubted legacy of Brexit and Covid which in combination has normalised a lack of social graces in gathered environments… and when challenged, these total numbskulls become aggressive, pitifully unaware that they are ruining the evening of those around them.
Meanwhile, there was another undesirable element who only go to gigs to post selfies and badly distorted footage on their socials… these were often the sort of people who actually hated the band back in the day, but after 40+ years realised they like the song on the Vitality or Waitrose advert so are sudddenly giving it the big “I AM” about being a fan… but BECAUSE they are only there for one song, they then treat the rest of the gig like they were out with their mates in the pub! 🤬
Photo by Chi Ming Lai
The best live shows of the year came from PET SHOP BOYS and DURAN DURAN with their arena extravaganzas full of hits, classic fan favourites and great staging. Among the album celebrations, CHINA CRISIS ran through their second long player ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ on tour to celebrate its 40th anniversary and founder bassist Peter Hook took the first NEW ORDER compilation ‘Substance’ out on the road to coincide with its expanded 4CD reissue.
“Sweden’s best kept pop secret”KITE impressed with an imitate headliner for their debut London gig and later at Cologne’s Amphi Festival to a much larger crowd, while the return of Ollie Wride to the London stage at The Scala illustrated why he has potential to be the next synthwave artist to crossover into the mainstream.
Photo by Ed Miles
‘Time’s Arrow’, LADYTRON’s second album since their return from hiatus proved to be something of a disappointment while fairing slightly better with its anti-Brexit sentiments, ‘Bauhaus Staircase’ was touted as the final album from OMD; now kissing the strict machine, having previously been supportive of new electronic pop via ELECTRICITYCLUB.CO.UK championed acts MIRRORS, VILLA NAH, VILE ELECTRODES, METROLAND, TINY MAGNETIC PETS and SOFTWAVE, their choice of art glam hipsters WALT DISCO as opening act on the UK leg of the 2024 tour was symbolic of the general poor state of modern synthpop ie pop music using synths, particularly within the narrow-mindset of Brexit Britain.
Although the UK was continuing to party like it was 1933, the incendiary language that Cruella Braverman was using was so extreme that she was even dismissed from fronting the Conservative Party new wave covers band A FLOCK OF SIEG HEILS… as a trio of poets from South Yorkshire once said: “BROTHERS! SISTERS! WE DON’T NEED THIS FASCIST GROOVE THANG!” ✊
Reflecting a wider issue, 2023 also saw ELECTRICITYCLUB.CO.UK publish its fewest number of ‘Introducing…’new artist articles since its inception in 2010 with only Brigitte Bardini and Madeleine Goldstein featured. There were a number of possible reasons…
Photo by Bella Salvatore
“The technology leads the art form and it always has” said veteran producer Steve Lillywhite on a recent Rockonteurs podcast, “if the technology allows you to reference other people’s records… you WILL do that!”. This was summed up by an Apple Mac advert featuring sample-based British pop singer PinkPantheress demonstrating how to have a hit by appropriating a topline from Kelly Rowland and plonking it into GarageBand before processing her voice through AutoTune and nabbing the intro of ‘Gold’ by SPANDAU BALLET… you said it yourself Miss Walker, IT SOUNDS LIKE GARBAGE!
While the accessibility, usability and sound quality of modern tech has totally democratised music making, as another veteran producer Stephen Hague put it to ELECTRICITYCLUB.CO.UK “it’s made it far too easy”, with the end result being familiarity and imitation rather than innovation. Now that an acceptable sound is able to be obtained fairly quickly on software such as GarageBand, the level of songwriting has generally declined in many genres. Artists abstain from putting in the hard work towards the actual songcraft because they think their track is already great, as it sounds like someone they’ve based it on!
However, the misuse of “synth” as a description reached a new nadir in 2023. There were those using “synth” or “synthwave” in their brand identity who proudly revealed via their Spotify Wrapped that their Top Genre was actually rock or made bizarre comments like “What I like most about synthwave is the guitar solos”. Meanwhile one artist declared they were synthpop because they had spent their youth “listening to too much Madonna”! But synth music as an enduring form is ultimately doomed when social media platforms using “Synthpop” in their idents think that guitar-based bands like BIG COUNTRY and COCTEAU TWINS are part of it, or compile acoustic playlists!! 🤦♂️
“Synth” has now somehow become is a general term for any retro-flavoured pop with an element of shiny artifice whether synthesizers have been used or not! These artists and “content creators” are now too young to understand what “synth” in music actually once meant and probably think the term is short for “synthetic” as in clothes and hair products, as opposed to “synthesizer”.
That said, 2023 was not all bad and there was a lot of excellent music. The song of the year was by the unlikely synth hero in glum rocker Lloyd Cole; while guitars made a more prominent but limited return on his album ‘On Pain’ following 2019’s electronically-dominated ‘Guesswork’, the standout song ‘The Idiot’ saw him provide a touching narrative on the relationship between David Bowie and Iggy Pop as they relocated to Berlin in 1976.
Swedish veterans PAGE took the Numanisation of their poptronica to its zenith by bringing in former imperial phase Numan band members Chris Payne and RRussell Bell on their new album ‘En Ny Våg’. Across the Öresund Bridge, Danish synthpop couple SOFTWAVE showed the world the ‘things we’ve done’.
Photo by George Tripodakis
Another music veteran Ricky Wilde teamed up with NINA to reveal their ‘Scala Hearts’; full of classic pop references and a modern sheen, this was the record Wilde had wanted to make for a few years but hadn’t been able to with his sister Kim. Its creative drive showed and this was also the best long player that NINA had been part of since she launched her solo career in 2011. In a busy year, NINA also found time to satisfy many a red blooded fantasy by collaborating with Kid Moxie on the ‘Lust’ EP released by Italians Do It Better.
The Finns were strong too, with Jaakko Eino Kalavi and Jori Hulkkonen producing two of the best albums of 2023. The former’s eclectic ‘Chaos Magic’ featured Alma Jodorowsky, Mr Silla and Jimi Tenor as special guests while the latter’s ‘There Is Light Hidden In These Shadows’ brought in John Grant, Ralf Dörper, Jake Shears, Jon Marsh, Juho Paalosmaa and Tiga.
While maintaining his front man role in MESH, Mark Hockings presented his solo project BLACKCARBURNING in long playing form and was ‘Watching Sleepers’. Also going it alone, Alison Goldfrapp squarely hit the dancefloor via ’The Love Invention’ with Kylie Minogue’s similarly glitzy ‘Tension’ as its companion. But with ACTORS still busy touring the world, the planned long playing debut from LEATHERS was yet to emerge but there were two new singles in the interim.
METROLAND and side project 808 DOT POP ambitiously released albums in five different formats with exclusive tracks on each between them simultaneously, in a move that had not been seen since 1978 when all four members of KISS released solo records on the same day. Much more discretely, ITALOCONNECTION came up with ‘Nordisko’ which comprised of Nordic pop disco covers. More ambient experiments were served by John Foxx, Vince Clarke, Patricia Wolf, Johan Agebjörn and the late Ryuichi Sakamoto, while putting those ethereal textures into song was Hinako Omori with her appropriately named second album ‘stillness, softness…’
Germany’s BEBORN BETON offered bleak commentary on the state of the planet with ‘Darkness Falls Again’ but encouraged everyone to be dancers in the dark while Chinese band STOLEN highlighted this ‘Eroded Creation’. Within their ‘Circle Of Doom’, NNHMN had pressing matters closer to home while ZANIAS emerged from her ‘Chrysalis’. FERAL FIVE confronted and worked with AI to declare ‘Truth Is The New Gold’ and Finlay Shakespeare tapped into his ‘Illusion + Memory’.
Photo by Tim Darin
Among the promising emergent acts with debut EPs were NEU-ROMANCER and DIE SEXUAL while German solo artists Jennifer Touch and Laura Dre added to their long playing portfolios, as did OHNOTHING and BUNNY X. Fronted by respectively by John Grant and Neil Arthur, CREEP SHOW and THE REMAINDER outlined the benefits of collaboration while CAUSEWAY joined forces with R. MISSING for the single ‘Wear The Night Out’.
Despite having plied their trade for over 50 years, SPARKS continued to be as eccentric as ever and even had Cate Blanchett appear in the video for ‘The Girl Is Crying In Her Latte’. With ‘*Happiness now completed’ and Dave Ball returning to the live fold after a period of serious illness, SOFT CELL effectively issued another new album featuring a significant number of previously unreleased tracks including covers of Giorgio Moroder and X-RAY SPEX to provide a much more satisfying listening experience than the parent ‘*Happiness not included’ record. Then there was the unexpected recorded return of CLASSIX NOUVEAUX with their ‘Battle Cry’.
Veteran acts who ceased active operations many years ago got worthy boxed set treatments; TELEX provided ELECTRICITYCLUB.CO.UK with the funniest interview of the year in support of their self-titled retrospective on Mute while LANDSCAPE were comprehensively catalogued by Cooking Vinyl. Not to be left out, the trusty Cherry Red via their Lemon imprint showcased how underrated NEW MUSIK and their leader Tony Mansfield were, especially with the latter’s sound clearly audible in today’s pop acts such as THE WEEKND.
Despite the return of Q, the jury was still out on whether music magazines are still desirable aside from their CD and vinyl artefacts. Meanwhile, music-based social media dumbed down its engagement to cut ‘n’ paste Wikipedia snippets accompanying archive photos or artwork, pointless 26th anniversary posts and non-significant birthday celebrations to attract likes. Comments from the public such as “My favourite album… I wish I still had it!” and saying “Happy Birthday” when the platform wasn’t even connected to the artist concerned only highlighted further the continuing inane nature of online interaction. And this was without those irritating “POV” reels and reaction videos on TikTok and Instagram which were unfortunately prevalent!
The less said about the right wing gammon infested sh*t show that Twitter has become, the better but on the new Threads platform intended to take it on, PENDULUM’s El Hornet remarked “omg threads is full of music industry self help w*nkers making lists about things nobody asked abort! ABORT!” 🤣
With such platforms also seemingly centred around the exposure of flesh with photos “just for fun” be the subject a golfer, gamer, painter, baker, comedian, hairdresser, photographer, psychologist, racing driver, book reviewer, poet, dating coach or Lego enthusiast, is it any wonder that several music artists resorted to setting up OnlyFans accounts to sell nude photos!
With pun totally intended, in this challenging climate for exposure, some acts simply got a bit too big for their boots and were unbearably conceited on their socials with their bragging and frivolous chatter to appease a needy flock who hung onto their every word, desperate to be seen to be “friends” of wannabe stars while crowdfunding towards their spa weekenders and vet bills for their cat… it was therefore ironic that one of these acts declared “Music isn’t a competition!” when it appeared that another band might be taking away some of their limelight! Well, stop acting like it’s a 24 hour edition of ‘The Apprentice’ then!!! 🙄
On the other side of the coin, one too cool for school band took a strange attitude to promotion by refusing to accept questions about their influences while trying to come over like total originals. Despite their inspirations being blatant and obvious to hear, they had a misguided self-belief that they were somehow speaking a new language! But everybody knows they started out by purchasing the sheet music to ‘Bizarre Love Triangle’ from a New York thrift store! 😆
A few years ago, a lone British artist was complained about the lack of press attention for their new admittedly good album, but then proceeded not to answer emails containing interview pitches. Artists need to engage, no matter how much they say they hate doing promotion, they can’t have it both ways. The days of RADIOHEAD not doing interviews to promote a new album and letting the music speak for itself are long gone…
With the world now making up for lost time since 2020, it would be fair to say that 2023 has been something of a strange year!
Making up for lost time and revenue since 2020, the music industry really went to town on their various income streams in 2023…
Albums were being released in multiple coloured vinyl editions with the same content, sometimes as many as eight versions… while this helped in inflating physical chart positions for marketing purposes, it also gave an incorrect perception of success. As Stephen Morris from NEW ORDER once remarked to Smash Hits back in 1983: “If you believe in the charts, then you may as well believe in fairies…”
With Live Nation CEO Michael Rapino declaring that concert ticket prices were generally too low and that artists could easily “charge a bit more”, this was exactly what quite a few did and there was a noticeable price hike observed across all levels over the year.
But what about the music? This year’s song listing was quite straightforward to compile, with a smaller shortlist compared to previous years with DURAN DURAN, KITE, PISTON DAMP, LEATHERS, DELERIUM and LADYTRON missing the final 30.
Just a note that ELECTRICITYCLUB.CO.UK has never compiled an albums list, due to long form releases now having a much longer gestation period than in the past. Therefore, songs are a much better representation of the music from a calendar year. If you like the song, then check out the parent album or EP if applicable via your chosen music platform…
Selected from tracks available on the usual online retail platforms with a restriction of one song per artist moniker (so yes NINA, John Grant, Finlay Shakespeare and Laura Bailey each appear twice but in different combinations), here are the ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2023 listed in alphabetical order…
BRIGITTE BARDINI Start A Fire
Hailing from Melbourne in Australia, Brigitte Bardini is the latest artist to embrace her dark side having begun as an acoustic singer songwriter. Moving away from the dreampop and shoegaze of her earlier material, ‘Start A Fire’ captured an alluring gothique on top of a gritty dance tempo while simultaneously haunting and melodic. The stylised rage was sinister stuff but aurally and visually absorbing.
Available on the BRIGITTE BARDINI single ‘Start A Fire’ via Ruby Valley Records
Not a rework of Bruce Springsteen, the brilliant ‘Dancer In The Dark’ saw BEBORN BETON managing to out Camouflage CAMOUFLAGE with an infectious pop sensibility that more than likely came from front man and lyric writer Stefan Netschio’s love of DURAN DURAN. With another Cold War looming as if The Berlin Wall never fell, ‘Dancer In The Dark’ was a message to remain positive in the face of adversity.
A product of lockdown, BLACKCARBURNING is the solo vehicle of Mark Hockings with the lead singer of MESH taking on multiple roles including programming and production. The spikey throbbing energy of ‘The Mirror’ provided a dark disco highlight away from the parent band’s template. “I’m just generally a fan of arpeggiated bass lines” he said, “I don’t think you can go far wrong with a repetitive sequence and a Roland drum machine”.
Available on the BLACKCARBURNING album ‘Watching Sleepers’ via COP International
With Lloyd Cole“excited to still be finding new methods, new perspectives, new sounds”, the standout song ‘The Idiot’ from his Chris Hughes’ produced album ‘On Pain’ gave a touching synth-laden narrative on the relationship between David Bowie and Iggy Pop as they relocated to Berlin in 1976 in an imagined conversation as the pair escaped their narcotic dependency while cycling to the studio and discothèque.
Available on the LLOYD COLE album ‘On Pain’ via earMUSIC
A supergroup comprising of John Grant and the trio WRANGLER comprising of Stephen Mallinder, Ben Benge Edwards and Phil Winter, CREEP SHOW released their acclaimed debut album ‘Mr Dynamite’ in 2018. Utilising a punchy backing track, ‘The Bellows’ was like a blippy PET SHOP BOYS with layers of treated and vocodered vocals before being countered by enticing Middle Eastern resonances in the synth solo.
Available on the CREEP SHOW album ‘Yawning Abyss’ via Bella Union
Their first new track from DAWN TO DAWN since their 2022 debut album ‘Postcards From The Sun To The Moon’, the Montreal trio of solo artist Tess Roby with THE BEAT ESCAPE’s Adam Ohr and Patrick Lee conjured images of headlights on night drives with the shimmering story of love and lust that was ‘Seventh Floor’. With dreamy synthscapes and hypnotic drum machine, this was a wonderfully understated dance number.
Available on the DAWN TO DAWN digital single ‘Seventh Floor’ via SSURROUNDSS
Creating their own “Feraltropolis”, the palette of tools on ‘Truth Is The New Gold’ saw FERAL FIVE use traditional instruments, electronica and AI voicing in a quirky but accessible fashion for a commentary on today’s strangely dystopian post-truth world. Exploring the theme of light pollution, the fine squelch laden ‘Silver Sky’ saw great vocals and backing reminiscent of INTERNATIONAL TEACHERS OF POP and DUBSTAR meeting GOLDFRAPP.
Matthieu Roche is the enigmatic Parisian behind FRAGRANCE. whose debut ‘Dust & Disorders’ was expanded in 2023 with five new tracks. The first remix from it came in the shape of an excellent ‘Much More Like A Wave’ rework by London-based Italian producer M!R!M. “I love his take on the song” said Roche, “I always felt that the chorus of this song could work as an anthem and he definitely achieved that with his remix”
Following the acclaim for her debut ‘The Internet’ and her first liev appearences, the second Glüme album ‘Main Character’ with high profile guests such as Sean Ono Lennon and Rufus Wainwright was set to elevate her to the next level. However, things did not quite work out that way with health and financial concerns by the end of the year. ‘Dangerous Blue’ was one of the sparkling highlights despite its cooing melancholy.
Available on the GLÜME album ‘Main Character’ via Italians Do It Better
Formally of synth-tinged Portland band FRINGE CLASS, Madeline Goldstein presented her best single yet in ‘Seed Of Doubt’ to launch her ‘Other World’ EP. With a wider narrative on “the restlessness of alienation and isolation, the longing to move, to feel power, and to flee”, ‘Seed Of Doubt’ was a brooding slice of gothwave in a manner tinged with some ghostly allure thanks to a haunting soprano delivery.
Available on the self-released MADELINE GOLDSTEIN EP ‘Other World’
JORI HULKKONEN featuring JOHN GRANT I’m Going To Hell
“For my 50th birthday I wanted to do something a bit special” said Jori Hulkkonen, “however, the list of realistic projects quickly narrowed down on yet another album. I did manage to invite some friends and heroes to be featured on it, though.” The album assembled an impressive supporting cast; displaying his love of PET SHOP BOYS, hearing John Grant with his rich baritone on a house-driven pop track like ‘I’m Going To Hell’ was pure joy.
ITALOCONNECTION featuring JAIA SOWDEN On The Radio
ITALOCONNECTION’s long player ‘Nordisko’ came with a twist by paying tribute to pop from the Nordic region via a collection of cover versions. Written by Jay-Jay Johanson, his marvellous 2002 tune ‘On The Radio’ was given an airy feminine disco makeover featuring Jaia Sowden on vocals. With absorbent sequences and glistening keys, it was a fine disco friendly shapeshift from the artpop original.
Available on the ITALOCONNECTION album ‘Nordisko’ via Mordisco / Blanco Y Negro
Athens-based Finn Jaakko Eino Kalevi sought to find beauty in the chaotic nature of the everyday on his new double album ‘Chaos Magic’. One of its many highlights ‘The Chamber Of Love’ bore a resemblance to WHAM! “I wrote the song before I ever heard ‘Everything She Wants’ but the arrangement was different” the Finn said, “I love ‘Everything She Wants’ so I arranged this song sounding more like that. It is more electronic now…”
Available on the JAAKKO EINO KALEVI album ‘Chaos Magic’ via Weird World / Domino Recording Co
When artists are mutual fans, it can lead to collaborative possibilities and even ‘Lust’. KID MOXIE and NINA teamed up via Italians Do It Better to capture a seductive film-noir tension within a fantasy world with the EP launched by a cover of ‘Waiting For The Night’, a song made famous by Jennifer Lopez. With a cool air of enigmatic mystery, the downtempo synthwave treatment on ‘Lust’ exuded a sensual anticipation of consummation in their duet.
Available on the KID MOXIE & NINA EP ‘Lust’ via Italians Do It Better
The first new music from KNIGHT$ since 2021, the vibrant hook-laden Eurobeat of ‘What Planet Did You Come From? (Baby)’ threw in the kitchen sink with synth, sax and vocoder. With shades of Patrick Cowley’s work for Sylvester and Bobby Orlando’s Divine productions, it affirmed that James Knights’ Britalo was just the tonic in these difficult times despite highlighting existential issues closer to home.
Available on the KNIGHT$ EP ‘$auna Mu$ik’ via Specchio Uomo
From their third album ‘Strange Disciple’ themed around “toxic infatuation”, the fittingly titled ‘I Will Never Learn’ summed up life’s trials and tribulations in a wonderful example of why NATION OF LANGUAGE appeal so much in their glorious mix of synths, live bass, sequencers and electronic percussion. A haunting girly falsetto howl provided a beautiful touch alongside their usual NEW ORDER, OMD and ULTRAVOX influences.
Having impressed with her first NEU-ROMANCER EP ‘Neue Romantika’ earlier in 2023 while touring the world with ZANIAS, Berlin-based Australian Laura Bailey ended the year with the cowbell heavy Hi-NRG romp ‘Burning Eyes’ on CURSES’ enjoyable album ‘Next Wave Acid Punx DEUX’ compilation. It made use of both her vocal and bass prowess which were less prominent on her largely instrumental debut release.
As NNHMN, wife and husband “non-humans” Lee Margot and Michal Laudarg have been encapsulating these unsettling times in music. Adapting their dark electronic body style with more varied dance elements on their appropriately titled ‘Circle of Doom’ album, courtesy of a particularly hypnotic bassline, the wonderful serene glory of ‘Soldier of Beauty’ gave the viewpoint that the only honest thing to fight for is peace.
Available on the NNHMN album ‘Circle of Doom’ via Young and Cold Records
Derived from a Paul Humphreys demo with the working title of ‘Zimmer Frame for Andy’, this came bursting with the usual OMD hooks and was perhaps only missing a Paul Humphreys lead vocal. Lyrics such as “When the energy is gone and the feeling is just wrong” and “The power in your hand is pouring out like sand” pointed towards the ‘Bauhaus Staircase’ album’s political themes on the blind stupidity of Brexit.
Although the ‘En Ny Våg’ album title song took the PAGE“Numanisation” process to its zenith by featuring Chris Payne, outstripping it was the excellent jaunty robopop of ‘Det Här Är Mitt Sätt’. Within its four chord progression, there were catchy riffs and some fabulous vintage Moog soloing in what was originally conceived as a homage to ‘Fade To Grey’, song which Payne co-wrote.
Available on the PAGE album ‘En Ny Våg’ via Energy Rekords
As well as Neil Arthur, THE REMAINDER also comprises Liam Hutton and Finlay Shakespeare, both members of the live BLANCMANGE family. The excellent dance friendly ‘Broken Manhole Cover’ recalled LCD SOUNDSYSTEM and it was all intentional as Neil Arthur told ELECTRICITYCLUB.CO.UK “you’ll hear me singing via a gated tremolo FX the words ‘LCD SOUNDSYSTEM’ most of the way through the song.”
Available on THE REMAINDER album ‘Evensong’ via by Blanc Check Ltd
Fronted by enigmatic Sharon Shy, having released enough singles this year to make up an album, R. MISSING are in danger of falling under the radar with the bubbly electronic pop noir of ‘All Alone With Seas’ almost passing by unnoticed despite being one of their best songs of late. A long playing release, while old fashioned and not playing the modern streaming algorithms, may provide the focal point that the New York-based duo deserve.
Covered by acts as diverse CARTER THE UNSTOBBALE SEX MACHINE and Liza Minnelli, the latest interpretation of PET SHOP BOYS stark narrative of a kept woman came via this wispy account by Swedish duo SALLY SHAPIRO. Keeping the original theme of relationship dependency close to its heart but offering an icier Nordic vision from a female perspective, Neil Tennant said “We’ve heard it! The chorus in particular sounds good”.
Available on the SALLY SHAPIRO single ‘Rent’ via Italians Do It Better
From out of the shadows to under the strobe lights, DIE SEXUAL are the Los Angeles-based wife-and-husband duo of Rosselinni and Anton Floriano, the latter part of BLACK LIGHT ODYSSEY who remixed the DEPECHE MODE bonus track ‘Oh Well’. Their dark electronic influences examine themes of domination and submission with the seductive ‘Bound, I Rise’ seeing the bottom switch to the top in a hypnotic EBM friendly stomper.
Available on DIE SEXUAL EP ‘Bound’ via A System Exclusive / Hush Ltd.
“It’s an absolute rip off of OMD’s ‘2nd Thought’!” admitted Finlay Shakespeare of his glorious ‘Illusion + Memory’ album highlight ‘Ready Ready’. Almost Motorik in presence with a wonderfully pulsing drive and gorgeous synth tones, our hero doesn’t refrain from thoughts about “feeling at home through just a voice on the shortwave, when in fact you don’t know where you are and you could be in the crosshairs at any time and place.”
Parisian producer Annelise Morel has been quietly impressing audiences over the past few years as SIERRA with her brand of intriguing darkwave. After several EP releases, her debut album ‘A Story Of Anger’ was a major artistic leap forward. Including collaborations with Carpenter Brut and HEALTH, the standout track was her autobiographical statement ‘Stronger’.
Always adept at doing covers having had hits with ‘Tainted Love’ and ‘What’, SOFT CELL presented a brilliant electro tribute to Poly Styrene with ‘The Day The World Turned Day-Glo’. Taking a musical leaf out of ‘Sex Dwarf’ with Dave Ball making his syndrums and synths sound so menacing yet accessible, while Marc Almond delivers a vocal recalling the anguish of ‘Martin’ with sleazy sax passages resonating with the dystopian lyrics.
Despite its positive pop sound, the reflective lyrics on the second SOFTWAVE album ‘things we’ve done’ highlighted the challenges of living in a modern world full of dualities. ‘Taking Life For Granted’ saw the Danish duo of Catrine Christensen and Jerry Olsen go all ABBA-esque with someone “lacking gratitude” under attack, although the rousing chorus and a particularly joyous instrumental break gave the infinite hope.
Available on the SOFTWAVE album ‘things we’ve done’ via Electro Shock Records
A fabulous cover of the Italo flavoured Kim Wilde B-side to ‘The Second Time’ from 1984, the throbbing ‘Lovers On A Beach’ is NINA sounding sexier than ever before. Ricky Wilde said “I just thought there was a little bit more that it needed that I maybe wanted to add back in the day”. With sharp spikey edges boosting the trancey template, he provided a superb extended end section that paid homage to Giorgio Moroder in the best way possible.
Available on the RICKY WILDE X NINA album ‘Scala Hearts’ via New Retro Wave
Following one of the most traumatic periods of her life, Alison Lewis returned as her solo alter-ego Zoe Zanias to present ‘Chrysalis’. As the title suggests, it was a rebirth. With glorious arpeggios and lush synth strings, ‘Lovelife’ was bolstered with bass guitar by live bandmate Laura Bailey aka NEU-ROMANCER while an array of pitch-shifted voice samples acted as an abstract lead vocal before the actual one kicked in.
Available on the ZANIAS album ‘Chrysalis’ via Fleisch
Despite being thousands of miles apart, KID MOXIE & NINA bonded online over ‘Blade Runner’, ‘Twin Peaks’ and ‘Drive’; the respective musical monikers of Elena Charbila and Nina Boldt, their debut collaborative EP ‘Lust’ released on Italians Do It Better was a sexy and sultry concoction that explored themes of erotica with a dark yet playful demeanour.
While ‘Electric Kiss’ was the carefree ride that presented the light on the EP, ‘Devotion’ represented the darkness and something altogether more sinister. In a new mini-movie for the latter filmed in Los Angeles and directed by Joe Rubenstein whose credits also include the saucy visual presentation for the KID MOXIE single ‘Shine’, the mini-movie sees the infamous DURAN DURAN video ‘The Chauffeur’ meeting ‘Blade Runner’ within an array of vivid colours
With bendy synth sounds provided by producer Hristos Lainas and driving metaphors pointing to forbidden liaisons, in a joint KID MOXIE & NINA interview with ELECTRICITYCLUB.CO.UK, Nina Boldt said of ‘Devotion’: “I really love that spoken word mixing with the sensual vocals and it’s a bit more playful and there’s anticipation there…”
In a car chase backstory with a twist providing a sexy mystique, Elena Charbila admitted about the video’s inspiration: “It’s probably the most ‘Blade Runner’ influenced because of the location amongst the tall buildings. There’s a chase and as our most dangerous sounding song, it has some Theremin in there as well. There’s a universe where ‘Devotion’ is the track of being chased, but whoever is chasing us doesn’t want to do anything bad to us!”
When artists are mutually fans of each other, it can lead to a happy union, collaborative possibilities and even ‘Lust’.
For the LA-based Elena Charbila whose most recent solo album ‘Better Than Electric’ under her nom de théâtre KID MOXIE was released in 2022, she fell in love with NINA’s ‘Synthian’, the title track from the Berliner’s second album. Meanwhile, the German adored the Athens-born songstress’ cover of ‘Big In Japan’, the 1984 international breakthrough of fellow Germans ALPHAVILLE. Despite being thousands of miles apart, KID MOXIE & NINA bonded online over ‘Blade Runner’, ‘Twin Peaks’ and ‘Drive’.
Then crucially, the pair met for real in Berlin, Athens and Los Angeles, using the limited time together on each occasion to fuel their creative urgency. The end result is a 5 track EP entitled ‘Lust’ that captures a seductive film-noir tension with a fantasy world that provokes a cool air of mystery.
Released on Italians Do It Better, the first track to be premiered was a cover of ‘Waiting For Tonight’ on the label’s ‘After Dark 4’ collection in 2022; originally recorded by 3RD PARTY, an American girl trio fronted by the song’s co-writer Maria Christensen but made famous by Jennifer Lopez with added Latino dance vibes, this downtempo cover of a cover exudes a sensual anticipation of consummation with accentuation of the main melody.
The ‘Lust’ title song takes things further in a lengthy retrowave excursion into excess and passion, a cyclical feel to point to an affair that lingers unfinished but continues purely on chemistry regardless on consequences. As our heroines conclude that “lust is a crime”, ‘Crime’ provided some saxy drive from Skylar Funk as the ‘Blade Runner: The Erotic Cut’ approach adds arousing spoken word for an inviting “one night with you” to make your dreams come true to a backdrop of warped bass notes, cut-up voices and lush six string from Oliver Blair aka RADIO WOLF.
The paciest track on the EP, ‘Electric Kiss’ makes further use of Blair’s guitars for a dreamy carefree drive into the sunset. Counterpointing that mood, ‘Devotion’ is much more sinister with bendy synth sounds and Theremin swoops acting as aural metaphors into a forbidden relationship while mixing more spoken word mixing with sensual vocals to heighten anticipation.
A perfect match, ‘Lust’ is a sexy and sultry concoction that explores themes of erotica with a dark yet playful demeanour that provides a wondrous escape. Embrace this seductive partnership as you see fit, but the perusal is all part of the excitement.
“We’re creating a fantasy world cinematically, sexually speaking” said Charbila to ELECTRICITYCLUB.CO.UK, “People can think whatever they want about ‘this’. Are we singing this to each other? Are we singing it to your man, my woman? It’s up for your interpretation; we’re not going to feed it to you. It’s just going to be a warm dish, you can eat it however you want.”
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