KID MOXIE is Elena Charbila, the Greek born singer and actress who likes to make music with friends.
Working best in collaboration, with her well-received album ‘1888’, Charbila effectively blossomed and displayed an inventive maturity on both electronic and organic sides of her work after the gutter pop of her early releases.
Her latest release ‘Perfect Shadow’ is a six track EP, bolstered by five remixes from an assortment of contributors including MARSHEAUX and TAREQ. The opening song ‘4AM’ is both lovely and haunting, oozing a nocturnal electro folk atmosphere. Meanwhile, the sumptuous ‘Dirty Air’ adds little piano flourishes over the driven synthwave soundtrack as a new element to the KID MOXIE sound. Enigmatic and sexy, Charbila comes over as a fine electro femme fatale.
But ‘Still High’ is mighty, with Charbila’s voice as seductive as ever. Co-written and co-produced by our heroine with Darren Burgos and Dylan Willoughby, this is gloriously cinematic synthpop with a touch of maiden iciness.
With guitar and string machine sitting in unison, ‘Under This New Light’ sees some aggression by recent Moxie standards, courtesy of a hard percussive backdrop and a chunky lead synth riff.
Percolating synths and meditative vocals dominate on the two minute interlude ‘Girl Without A Secret’ before the closing title instrumental helmed by regular collaborator THE GASLAMP KILLER. Utilising filmic orchestrated textures and VANGELIS type sweeps, it echoes early GOLDFRAPP by adding echoing whistles in that classic Morricone style over the arpeggiated bliss.
Of the five track appendix, the MARSHEAUX rework of ‘Dirty Air’ is superb, with a sprinkling of metallic DM fairy dust added to proceedings while TAREQ adds a faster house tempo to ‘Still High’.
The dPEN remix of ‘Girl Without A Secret’ will work well in those club DJ sets that feature no vocals, but the other remixes won’t be missed once the final playlists are assembled.
‘Perfect Shadow’ is a natural progression for KID MOXIE following the artistic leap from 2009’s ‘Selector’ to ‘1888’, and reflects how Elena Charbila has finally found her voice and style, “in and out of sight”. Remixes aside, this six song sequence of dreamy elegance is KID MOXIE’s best body of work to date.
‘Dirty Air’ is the first new material to be previewed from KID MOXIE’s upcoming EP ‘Perfect Shadow’.
The musical project of LA based Elena Charbila, the acclaimed accorded to her second album ’1888’ from magazines such as Mojo led her to be dubbed “the Greek GOLDFRAPP”.
With the gentle piano flourishes and Film Noir atmospherics on ‘Dirty Air’, the cryptic promo video sees Charbila doing her femme fatale thing within a suitably cinematic, but surreal environment. She said: “The whole video has to do with appearances being deceiving. With love being a guttural feeling. How we ‘vomit’ emotion. How falling for someone can feel like falling into an abyss. That black oil serves as a portable abyss.”
The sumptuous Hellectro vibe of ‘Dirty Air’ is deeply reminiscent of fellow Athenian songstresses SARAH P. and MARSHEAUX. It’s a sign of how musically creative the region has become over the years and with artists of similar heritage such as MARINA & THE DIAMONDS and FEATHERS also making waves around the world, Greece is the word…
Meanwhile, the new KID MOXIE EP scheduled for release in July is a natural progression following the artistic leap from 2009’s debut ‘Selector’ to ‘1888’. A MARSHEAUX remix of ‘Dirty Air’ will also be featuring. Prepare for a work swathed in darkness and light with a luscious nocturnal moodiness, layered in melancholy.
With a less intense release schedule than last year, it was a bit more straightforward to choose the songs of 2014.
Whereas 2013 had a short list of 45 songs, 2014 was closer to 35 although not the struggle to find 30 as was the case in 2012. So just missing out are CLIENT, KLEERUP and ToddTerje featuring Bryan Ferry, although not by much.
As usual, they are listed in alphabetical order and all have been released either in physical formats, or digitally as purchasable or free downloads during the calendar year. Thus although the excellent video for LIEBE’s ‘I Believe In You’ gained traction on MTV Europe in 2014, the song was actually released in 2013.
Tracks which are exclusive to streams, videos or DJ only promos are also not included; so QUIETER THAN SPIDERS ‘The Land Of Lost Content’ is not eligible. Limited to one song per artist moniker, here are the 30 Songs of 2014…
ANALOG ANGEL The Last Time
The transformation of Glaswegians ANALOG ANGEL in the last 18 months has been startling. From their third album ‘Trinity’, its closer ‘The Last Time’ was a big surprise, featuring a cinematic arrangement involving an orchestra cascading into an epic Pan-European journey heading eastwards. Recalling THE SISTERS OF MERCY’s ‘This Corrosion’, the virtual symphonic strings and gothic choirs gave an indication as to what OMD might have sounded like if Jim Steinman had been producing!
‘Scream’ launched Margaret Berger’s first album ‘New Religion’ since 2006’s ‘Pretty Scary Silver Fairy’ although as yet, the new opus has yet to emerge. The Norwegian Idol finalist effectively revived her career with ‘I Feed You My Love’ which came fourth in Eurovision 2013. ‘Scream’ saw her continuing the Robyn meets DEPECHE MODE template of her Eurovision smash and possessed an inherent industrialised darkness in an approach to quality pop that set itself apart.
Available as a download single via iTunes Norway through Macho Records
The original first lady of cinematic electronic pop surprised everyone when she appeared on the cover of her third album ‘Where Else…’ with a guitar strapped to her back. But while the record had a folk and blues influence, the synthesized textures that Ms Brücken has been best known for were still very much part of the package. The launch single ‘Nevermind’ could be seen as a musical reply to OMD’s ‘Stay With Me’. A lovely mix of electronics and acoustic, she appears to be driven by a new artistic zest.
Available on the album ‘Where Else…’ via Cherry Red Records
DAVIDGE is best known for his work with MASSIVE ATTACK and has been involved in game and film soundtracks for many years. His first solo album ‘Slo Light’ was an impressive debut, containing many of the elements that marked his work with the Bristolian triphoppers. ‘Sleepwalking’ was a haunting number beautifully voiced by Eim Green which recalled the ethereal quality of COCTEAU TWINS’ Elizabeth Fraser and the electronically assisted Weimer Cabaret of ‘Felt Mountain’ era GOLDFRAPP.
Available on the album ‘Slo Light’ via 7Hz Recordings
Following the disappointment of 2011’s FRANKMUSIK driven ‘Tomorrow’s World’, ‘The Violet Flame’ produced by Richard X saw ERASURE express an infectious zest for the future. The songs began with pre-recorded dance grooves from Vince Clarke as represented by the euphoric opening track ‘Dead Of Night’. The best number from the package turned out to be a ballad remixed by Paul Humphreys who added some of the beautiful Synth-Werk magic that characterised OMD’s ‘English Electric’ to ‘Be The One’.
Available on the boxed set edition of ‘The Violet Flame’ via Mute Artists / Pledge Music
Released in time for their DEPECHE MODE support tour in Europe, ‘Wild Love’ was far more dance-oriented than anything FEATHERS attempted on their debut album ‘If All Now Here’. While a heavy beat dominated, the essential component of a song remained, building to a suitably epic chorus providing that euphoric lift. The gated trance elements in the second chorus were a particular highlight, especially when backed by a screeching falsetto counterpoint. But just as it got going, it faded out!
The moniker of Elizabeth Bernholz, GAZELLE TWIN has acquired an impressive host of admirers including John Foxx, Gary Numan and Clint Mansell. Her second album ‘Unflesh’ has allowed the Brighton based songstress to extract her demons with some artistic violence. One of the highlights ‘Exorcise’ was an impressively aggressive cross between PINK FLOYD’s ‘One The Run’ and KRAFTWERK’s ‘Home Computer’. Its uneasy resonance was aided by Bernholz’s harsh, deadpan commentary.
Available on the album ‘Unflesh’ via Anti-Ghost Moon Ray
This mysterious combo with their lo-fi noise and motorik beats have revealed a series of energetic singles over the past two years including ‘Jessica 6’, a frantic salvo sounding like THE PIPETTES fronting an OMD assisted JOY DIVISION. But GIRL ONE & THE GREASE GUNS revealed a much softer side with ‘No Longer Spellbound’. With its beautiful atmospheric quality smothered in icy synth strings and grainy vox samples, if ‘Twins Peaks’ had been set in The Lake District, then the theme tune might sound a like this.
Available on the download EP ‘No Longer Spellbound’ via Squirrel Records
HERCULES & LOVE AFFAIR feat JOHN GRANT I Try To Talk To You
Imagine Jim Morrison getting it on down at The Danceteria circa 1982! ‘I Try To Talk To You’ featuring the expansive baritone vocals of John Grant combined the best of classic New York electro disco and grand piano theatrics with an emotively soulful vocal. The courageous lyrics found Grant recalling when he discovered he was HIV positive. “I asked John to dig deep with his lyrical contribution” recalls HERCULES & LOVE AFFAIR mainman Andy Butler, “I had no idea he would dig so deep”.
Available on the album ‘The Feast Of The Broken Heart’ via Moshi Moshi
‘I Can’t Figure You Out’ sounds like another product of Scandinavia but in fact, HUGH hail from South London. The captivating, naive lead vocal from Izzy Brooks states “you know just how I feel” as she makes handle with care pleas like “don’t toy with me” and “careful with my heart” while the intensity builds like a pressure cooker. And this is all before a time signature change and some frustrating despair is released with her spirited jazzy refrain of “No, I can’t figure you out!” Now, who hasn’t been here before?
Available on the download EP ‘I Can’t Figure You Out’ via Hughlovehugh
IAMAMIWHOAMI, the electronic multimedia project fronted by Jonna Lee and produced by Claes Björklund returned with their second opus ‘Blue’. ‘Hunting For Pearls’ featured wonderfully pulsing sequences and trancey atmospheres, coupled with a beautifully rich vocal from Lee. With a mysterious falsetto reach, the air may be cold outside but inside, things are warm. If Kate Bush made a modern electronic dance record at ABBA’s Polar Studios, it would probably sound like this.
Available on the album ‘Blue’ via towhomitmayconcern
Deep from within the Adirondack Mountains comes the beautifully gentle electronica of I AM SNOW ANGEL. The self-produced vehicle of singer / songwriter Julie Kathryn, the music evokes images of icy landscapes and crystalline hydro basins. The best track from her debut EP, ‘Let Me Go’ is rich in understatement and a Nordic styled tour de force swathed in melancholy, full of dreamy escapism. The full length album ‘Crocodile’ released in the Autumn did not disappoint either with its quietly subversive nature.
Available on the download EP ‘I Am Snow Angel’ via Amazon
With a breathier, more continental direction towards cinematic pop, The Kid effectively grew up with her second album ‘1888’. KID MOXIE’s widescreen soundscapes and dreamy demeanour saw a much more focussed work. ‘Lacuna’ means “an empty space” yet this song is filled with an enigmatic mystery as Elena Charbila applied some of the je nais se quoi first piloted on 2008’s ‘La Romance D’Hiver’ to the drifting, almost abstract electronic soundscape… and then there’s the pretty isolated piano ending!
Available on the download album ‘1888’ via Undo Records
Having delivered one of the best synth based debut albums in recent years, any new Kleerup recording now lives with a high degree of expectation. ‘Let Me In’ featuring Susanne Sundfør, who voiced several tracks on RÖYKSOPP’s ‘The Inevitable End’ album, came over like Karin Park if she had joined latter day ROXY MUSIC. Retaining the original appeal of Kleerup’s debut, ‘Let Me In’ was brilliantly classic and yet modern with its more organic template and even funky template.
Available on the download EP ‘As If We Never Won’ via Warner Music
MACHINISTA’s pairing of John Lindqwister and Richard Flow specialise in synthpop with a rock’n’roll edge. Their best offering from their debut album ‘Xenoglossy’ was the schaffel propelled ‘Pushing The Angels Astray’. Despite discussing the spectre of immortality, the sombre aura was balanced with a marvellous melodic line and fabulous chorus like ALPHAVILLE in their prime. The Nordic region continually shows how electronic music is done and many could do a lot worse than to observe how MACHINISTA go about their craft.
Available on the download album ‘Xenoglossy’ via Juggernaut Music Group
Released in the week of the Scottish Independence Referendum, MARNIE’s ‘Wolves’ was an appropriately soaring anthem “for anyone that doesn’t believe in sticking with the status quo, for anyone who has the heart to try and make a difference”. Certainly, the positive response she received for her debut long player ‘Crystal World’ and a return to her homeland has no doubt inspired her own independence. But with MARNIE due to release a second solo album in 2015, what does this all mean for LADYTRON?
Available as a download single via Les Disques du Crépuscule
‘Trans Europe Express’ 21st Century style as Belgium’s favourite passengers METROLAND embarked on a maroon coloured rail journey through France and Germany via the Benelux basin on ‘Thalys’. The full length 11 minute version rhythmitised metal on metal while there were also London, Paris and Düsseldorf edits in this musical tie-in with the Thalys high speed train operator.
Available on the download EP ‘Thalys (London)’ via Alfa Matrix
Frisky vocalist Emily Kavanaugh and moody producer Mark Brooks began writing songs as NIGHT CLUB with the goal of creating dark – yet commercially accessible – synthpop. Developing on the Britney gone electro goth sound of their glorious 2013 single ‘Poisonous’, ‘She Wants To Play With Fire’ treaded on the darker, sleazy side of life and dysfunctional relationships with Kavanaugh out to take on her demented love rival.
Available on the download EP ‘Black Leather Heart’ via Gato Blanco
Issued as a trailer for her new album ‘Apocalypse Pop’, ‘Look What You’ve Done’ is a feisty development of ‘Restless’ from Karin Park’s previous album ‘Highwire Poetry’. Wrestling within a fiery glam schaffel and a catchy chorus like an angry GOLDFRAPP, with THE KNIFE venturing into more uncompromising climes, the ‘other’ Karin ably fills the void now left vacant by the Drejers in avant pop. ‘Look What You’ve Done’ is a fine example of the Swede’s ambition to fit into both pop and experimental worlds.
Available as a download single via State Of The Eye Recordings
With LITTLE BOOTS having gone dance and LA ROUX veering away from synthpop, there is now a vacancy for a new kooky homegrown female synth talent. One of the possible candidates is PAWWS, otherwise known on her passport as Lucy Taylor. She has labelled her music “upsetting disco” and ‘Give You Love’ lives up to that description. Certainly those who prefer their music with rough edges and are averse to female fronted synthpop will have their touch paper lit even further with this exquisite pop number.
Available on the download EP ‘Sugar’ via Best Fit Recordings
Since playing with John Foxx, Hannah Peel’s own music has used more electronics alongside her beloved violin, musicbox, piano and trombone. ‘Fabricstate’ starts as a beautiful understated number before being bolstered by an unexpected but amazing whirring synth solo around a series of percussive clusters. When the warmth of the synthesizer is exploited and coupled with a classically trained background, the hybrid can result in a quietly subversive organic and technological fusion.
Available on the download EP ‘Fabricstate’ via My Own Pleasure
One musician taking electronic music into some intriguing fusions is Beijing born Fifi Rong. ‘Next Pursuit’ crosses the vocal mystery of Kelli Ali and the quirkiness of MOLOKO while throwing in a touch of Lana Del Rey and MAZZY STAR too. Crucially, the intriguingly soulful ‘Next Pursuit’ also adds in rhythmical variation as the rhythms click into action during the higher register vocal refrains while the verses are held together with a smokey allure.
Available on the download EP ‘Next Pursuit’ via Ditto Music
ROBYN & RÖYKSOPP Monument (The Inevitable End Version)
Edited and rethought for ‘The Inevitable End’ album, ‘Monument’ was originally a spacey 10 minute epic now tightened to a more bite size and dare one say it, more enjoyable format sans saxophone over a hypnotic two chord structure. As usual, Robyn’s vocals are edgy and nonchalant while RÖYKSOPP’s electronic soundtrack ably hit the spot with its energized octave-jumping bassline.
Available on the album ‘The Inevitable End’ via Dog Triumph / Cooking Vinyl
With their third album in as many years, Finnish duo SIN COS TAN went the concept album route for ‘Blown Away’, a midlife crisis story of a man who becomes a drug courier and goes on a journey of excess, fast money and hedonism. First single ‘Love Sees No Colour’ dressed NEW ORDER’s love technique in an OMD stylee with the result being a kaleidoscopic tune that managed to mix sunshine with melancholy.
Available on the album ‘Blown Away’ via Solina Records
The Nordic vocalist of the moment has to be Susanne Sundfør who has worked with M83 and Kleerup. But she is probably best known for her work with fellow Norwegians RÖYKSOPP. Propelled by a pulsing electronic backbone, ‘Fade Away’ from Sundfør’s forthcoming album ‘Ten Love Songs’ sees her in rousing form with a tune that at times sounds almost like Scandinavian gospel. Meanwhile, a fabulous synth solo gets thrown into the bargain too.
Available as a download single via Sonnet Sound / Kobalt
One act establishing themselves in 2014 were TRUST from Toronto. Led by the polarising “Eeyore gone goth” moodiness of Robert Alfons, the ironically titled ‘Joyland’ was a excellent second album that captured the sleazy nature of a 21st Century SOFT CELL and attached it to the grumpiness of LEONARD COHEN. ‘Peer Pressure’ was a frantic but funky uptempo number featuring Alfon’s trademark vocal pitch shift technique that proved misery and dancing could actually go together.
Available on the album ‘Joyland’ via Arts & Crafts
Touchingly melancholic with classic Weimar Cabaret melodies and vibrant Kling Klang interplay, TWINS NATALIA conjured up memories of holiday romances with pretty German frauleins and flirty French mademoiselles. Debut long player ‘The Destiny Room’ was many years in the making and did not disappoint. With the PET SHOP BOYS styled neo-orchestrated statement of ‘Set Love Free’, the song theatrically climaxed like a pomped up ‘Rent’ as a wonderful slice of joie de vivre to finish the main act.
Available on the album ‘The Destiny Room’ via Anna Logue Records
While the romantically uptempo ‘Become’ was inevitably the focal point of Midge Ure’s ‘Fragile’ album, there were other songs that were easily its equal. The most notable of these was ‘Dark, Dark Night’, an online collaboration with Moby. Though derived from ‘Rockets’ on Moby’s ‘Destroyed’ opus, Ure exploited the original’s rich symphonic string sounds and chilled vibes. Building to an amazing climax with melodic screeches and a tremendous guitar solo from Ure, this was a partnership made in heaven.
Available on the album ‘Fragile’ via Hypertension Music
VILE ELECTRODES capitalised on their profile from supporting OMD’s German tour in 2013 by snaring prestigious Schallwelle Awards for Best International Act and Best International Album for their debut ‘The future through a lens’. ‘Pandora’s Box’ was an excellent previously unreleased song full of wobbling analogue vigour that initially came with the lavish ‘Pack Of Wolves’ three CD package and set the scene for a much anticipated follow-up long player.
WRANGLER’s manifesto is to harness “lost technology to make new themes for the modern world”. And their signature track is ‘Lava Land’, a superb cross between CABARET VOLTAIRE and prime ‘Metamatic’ era John Foxx but with a modern twist. Stephen Mallinder’s voice manipulations range from demonic gargoyle to stern drowning robot. The frantic pace is strangely danceable, but the mood is distinctly unsettling and dystopian when the screeching steam powered Logan string machine kicks in.
Since her first releases ‘Human Stereo’ in 2007 and ‘Selector’ in 2009, KID MOXIE has developed her self-confessed “gutter pop” into something altogether more sophisticated and cinematic.
The musical moniker of Elena Charbila, KID MOXIE has progressed on a transient journey through her guest spots with fellow Greeks FOTONOVELA to her most striking work yet with her second full length album ‘1888’.
Preceded in 2013 by her best song to date ‘The Bailor’, one person listening was film director David Lynch. He commissioned a remix of ‘The Bailor’ in aid of his charitable Foundation, helping underprivileged populations across the world by raising awareness towards using Transcendental Meditation to heal traumatic stress. And it is with a relaxed state of mind that ‘1888’ is best approached. The album has two distinct modes, one being widescreen synthpop for want of a better description while the other is more naturalistic sonic sandwich heavily influenced by classic and arthouse film soundtracks.
‘1888’ begins with the pulsating ‘Lacuna’ and sees some of Elena Charbila’s je nais se quoi being applied to a dreamy electro-continental soundscape with an almost understated sexiness. Unafraid to experiment with arrangements, Gregorian chants are even thrown in while as the synths fade, the song isolates to just tinkling ivories and vibes.
Then second, in a similar manner to American TV shows, comes the ‘1888’ title track, an abstract cacophony featuring backward vocals, layered sitar and echoing accordion all smothered together for a surreal theme tune. But it returns to comparative convention on ‘Jacqueline The Ripper’, possibly the most overtly synthpop number in the ‘1888’ collection. Slightly reminiscent of THE HUMAN LEAGUE, it sees KID MOXIE take on a girly snarl alongside her breathy cooing while the closing breakdown gives a chance for her to indulge in a solo on her beloved bass guitar.
The wonderful wash of ‘The Bailor’ continues the rich glaze of the album but then appears a beautiful collaboration with renowned film composer Angelo Badalamenti via a new version of ‘Mysteries Of Love’. With lyrics by David Lynch, the song was originally recorded with JULEE CRUISE and featured in the film ‘Blue Velvet’. This dreamy cover bridges the two approaches on ‘1888’ and suits Charbila’s wispy vocal style down to the ground as it chills alongside the melancholic orchestrations.
With further wispiness, ‘Ghost Town’ could be a Françoise Hardy song for the 21st Century mashed-up with a Spaghetti Western soundtrack as synths and a muted six string provide the bed for some haunting whistling a la GOLDFRAPP’s ‘Felt Mountain’.
Of course, the king of such soundtracks is Ennio Morricone and with the spectre of Da Maestro looming in a collaboration with THE GASLAMP KILLER, a sombre string and horn combo dominates proceedings on ‘Museum Motel’ while military drums propel the aural drama up to a climax. ‘1888’ then goes all electro again with the pretty ‘Shadow Heart’. Recalling DUBSTAR with guitars, bass, synths and piano all combining with Charbila’s breathy continental vocals, it is a heavenly slice of exquisite pop. To finish, ‘Blackberry Fields’ sees Our Kid duetting with a scratchy field recording… the song is a real oddity, but fascinating.
KID MOXIE has undoubtedly grown up and the nine tracks on ‘1888’ show an inventive maturity on both electronic and organic sides of the musical coin. This promise has been a few years coming and the girl who first appeared in 2007 has blossomed. Those who may have been disappointed with ‘Human Stereo’ or ‘Selector’ will be pleasantly surprised by the leap forward on ‘1888’.
Undo Records is the Athens based record company founded by Nick Bitzenis and George Geranios.
Continuing the tradition of iconic labels like Factory and Mute with an attention to detail and a tasteful if occasionally eccentric design aesthetic, Undo’s physical products have captured the hearts of music fans worldwide and become highly sought after collector’s items.
Legend has it that the name Undo was actually an abbreviation of “United Donkeys” after the name “Gaga” was rejected! The label was conceived by the pair as a better way of utilising their business interests in light of a lucrative sponsorship deal for Bitzenis’ band MIKRO that saw little return for the power pop combo after a three album tenure with Warner Music Greece.
Undo’s first release though was actually ‘E-Bay Queen’ by MARSHEAUX in 2004, featuring the catalogue number KUCD001 which reflected Undo’s then partnership with distributor Klik Records. Meanwhile, MIKRO’s fourth album ‘180°’ was the label’s second release as KUCD002.
But it was following the cult success of MARSHEAUX’s breakthrough release ‘Peek ABoo’ in 2007 that the label secured a wider distribution deal with EMI Greece. With fans such as Andy McCluskey, Tom Robinson, Stuart Maconie and Jared Leto, the Athens based synth maidens have since become Undo Records’ most acclaimed and prized asset, with MARSHEAUX’s most recent album ‘Inhale’ becoming their biggest seller to date.
A decade later and the label have nearly fifty releases to its name including some key names from classic and modern electronic music. “We make electro pop records!” Undo say, so quite why a representative from a UK music distributor approached them about licensing the BEADY EYE debut long player still remains a mystery!
So here are eighteen songs affectionately chosen for a fantasy CD compilation that represents the ethos of Undo Records. Restricted to one song per artist moniker or guest vocalist combination and arranged in catalogue number / chronological order, this is A Beginner’s Guide to Undo Records…
FOTONOVELA But Not Tonight (2005)
Nick Bitzenis and George Geranios had initially met through the Greek DEPECHE MODE fan club Hysterika. So a DM covers album featuring the best of Greece’s independent bands was a natural artistic undertaking for the pair. MARSHEAUX contributed ‘New Life’ while MIKRO did ‘World In My Eyes’. But the highlight turned out to be from Bitzenis and Geranios themselves via their own music production platform FOTONOVELA with a lounge cover of Da Mode’s often forgotten but popular B-side ‘But Not Tonight’ featuring Bitzenis on lead vocals.
From the CD compilation ‘Around The World & Back: A Greek Tribute To Depeche Mode’ (V/A) – KUCD003
2005’s ‘We Collide’ was MESH’s best album to date at that point, so it was a major coup for Undo to have been able to license it for their fourth catalogue release. With ‘Crash’, MESH continued on their usual regular lyrical gists on the conflict within the human condition, providing the sort of synthesized anthems that the blues obsessed 21st Century DEPECHE MODE no longer delivered. For one of the album’s extras on the Undo variant, MARSHEAUX contributed a brilliant electro disco remix of ‘Crash’.
Although a cult success in Greece via his power pop outfit MIKRO, Nick Bitzenis wanted an outlet to express some of his more soundtrack based ideas… enter NIKONN. His beautiful solo debut album ‘Poladroid’ opened with ‘Sunday’, a rich chill out tapestry in the vein of MOBY featuring expansive synths, soothing vocoder and the exquisite vocals of Maria Papadopoulou. Incidentally, ‘Poladroid’ sold out its original KUCD005 run and was reissued as an ‘SX70 Edition’ with bonus material in 2013 while NIKONN’s work has appeared on ‘CSI: Miami’ and numerous bar compilations.
From the 2CD album ‘Poladroid – SX70 Edition’ – CDUN05
While ‘Ready For Love’ was actually a Eurodisco hit from the film ‘Deep End’ featuring the Greek actress and Playboy model Maria Korinthiou on lead vocals, the song appeared on a CD compiled by Undo Records that was given away free with domestic music magazine ‘Pop+Rock’ in Spring 2007. Breathy and highly alluring, the mysterious connection that enabled ‘Ready For Love’ to be included was that ESTE turned out to be Bitzenis and Geranios’ production wing FOTONOVELA in disguise!
From the CD compilation album ‘Undo LM.End_1’ (V/A) – MPH049
Originating from Greece’s other big city Thessaloniki, MIKRO were noted for their catchy uptempo party anthems. ‘Kalinihta’ from their fifth album ‘Restart’ perfectly captured the imminent conclusion of a rousing night out with some seductive Greek language vocals by Ria Mazini. ‘Restart’ was the first Undo release that featured a ‘CDUN-’ catalogue prefix, reflecting their new distribution deal with EMI Greece. Meanwhile, MIKRO’s next album was released by Undo in separate Greek and English CD editions as ‘Download’ and ‘Upload’ respectively in 2009.
By 2007, CLIENT had left Mute Records and had secured a new European deal with Out Of Line for their third album ‘Heartland’. In 2008, Undo licensed the album for the Greek and Cypriot markets. ‘Zerox Machine’ was a futuristic pop cover of the cult ADAM & THE ANTS favourite that was simultaneously glamorous, cold, emotional and sexy. In a touring tie-in which also saw MARSHEAUX sign to Out Of Line for the rest of Europe while Undo developed a close friendship with lead singer Client B aka Sarah Blackwood that continues to this day.
KID MOXIE is the musical project of stunning LA based actress Elena Charbila whose film career has seen her appear alongside Al Pacino and Malcolm MacDowell. Prior to her current cinematic phase on songs like ‘The Bailor’, her first album ‘Selector’ dabbled in what Charbila termed “Gutter Pop”. For the Greek physical edition of the release, FOTONOVELA took the title track and imagined ‘Are Friends Electric?’ reworked as an electro disco track for one of the bonuses while MARSHEAUX remixed ‘Medium Pleasure’.
‘Electronically Yours’ was a compilation that gathered a number of the new synthesizer acts such as HIDDEN PLACE, TECHNOLOGIC and TIGER BABY. A trio of feisty ladies with a vibrancy in their passion for pop with an edgy synthetic sound not heard before in the world of the girl group, RED BLOODED WOMEN were like GIRLS ALOUD produced by Daniel Miller. ‘You Made Your Bed’ was a satirical look at the IKEA generation’s relationships. The electronic bassline wass octave shift heaven carried by a throbbing sequence and beat!
From the 2CD compilation album ‘Electronically Yours’ (V/A) – CDUN14
With two albums to their name, Marianthi Melitsi and Sophie Sarigiannidou delivered on their promise with their most accomplished work to date in ‘Lumineux Noir’. ‘Radial Emotion’ with its infectious chorus and vibrant syncopated beats almost stole the show on an album which also included some of MARSHEAUX’s best songs like ‘Sorrow’, ‘Breakthrough’, ‘Summer’, ‘So Far’ and ‘Exit’. The innovative packaging for ‘Lumineux Noir’ consisted of a perforated black box that needed breaking to access the CD… thus, many fans bought one to play and one to display!
ROCKETS IN A COMA’s striking front woman Elektra first came to prominence as a guest vocalist on FOTONOVELA’s 2008 debut ‘Mistakes Are Good’. With her feisty vocal style coupled with musical partner Java Kid’s eclectic production style, the duo delivered a mutant strain of dominatrix electro rock disco with hints of MIKRO, THE CURE and GOLDFRAPP. This was wonderfully showcased on their first single ‘Psycholover’ and ‘You In Me’. But despite these sexily provocative overtures, Elektra has since effectively retired from music in order to raise a family.
Greco Jordanian vocalist TAREQ was a member of TECH SOIR who released their only album ‘Dark Room’ on Undo in 2007. So it was not a total surprise when his solo debut appeared on the label in mid-2010. The relaxed but pacey drum ‘n’ pop of ‘Mosquito’ was enhanced by a charming vocal croon that was not that different from INXS’ Michael Hutchence. Indeed, the parent album ‘Cocoon’ featured a cover of ‘Need You Tonight’ to further substantiate the link. TAREQ’s second album on Undo entitled ‘Fish’ came out in 2013.
‘Green’ was a demo from the solo phase of OMD that Andy McCluskey wrote with Stuart Kershaw and sounded like a ploddy rock ballad. Taking ‘Almost’ as a reference point with its white noise-like cymbal, Paul Humphreys reworked the track with a classic but contemporary electronic feel that became one of the highlights of ‘History Of Modern’. For its Greek release, Undo put the standard album into a lavish box with a bonus remix EP and ribboned it with a unique OMD wax seal.
From the 2CD+DVD boxset ‘History Of Modern’ – CDUN25
ROLLA SCAPE featuring MARSHEAUX Heaven Is Real (2011)
MARSHEAUX found themselves in funky disco mode on this guest appearance with ROLLA SCAPE, a pseudonym of K.BHTA, an Athens based Australian electronic musician. While the wispy vocal tones of Marianthi Melitsi are unmistakeable, the repetitive and sparse dance flavour of ‘Heaven Is Real’ augmented by rhythm guitar is quite unlike anything else in the MARSHEAUX catalogue and an enjoyable diversion away from their more obvious synthpop sound.
A unity of art and technology, MIRRORS were the perfectly modern take on the Synth Britannia era. The outstanding ‘Somewhere Strange’ was possibly the most euphoric and roaring train ride since NEW ORDER’s ‘Temptation’ with a hypnotic assault of propulsive blips and cacophonies of percussive noise. Undo’s special 2CD release of ‘Lights & Offerings’ chronicled the album and the brilliant B-sides. The Undo arrangement led to singer James New contributing the brilliant ‘Our Sorrow’ and ‘Romeo & Juliet’ on FOTONOVELA’s ‘A Ton Of Love’ in 2013.
With the spectre of Moroder and the slight, unorthodox vocal vibe of PULP’s Jarvis Cocker looming, the Thessaloniki based electro duo LIEBE borrowed an Italo style reminiscent of PET SHOP BOYS but added an extra sense of tongue-in-cheek. Also fusing elements of THE HUMAN LEAGUE to their highly immediate sparkling disco sound, the first single from the ‘Somewhere In Time’ album, ‘Strangers’ was a radio success in their home country while ‘Flamingo Nights’ took their uplifting retro euphoria even further.
VIENNA were a cult French synth act who were led by Odile Arias, best known for being Martin Gore’s girlfriend at the time when the iconic DEPECHE MODE ‘101’ documentary was filmed. Lively and sublime with an almost Middle eastern derived melody, ‘Rendez-Vous Sur La Mer Noire’ was originally released in 1984 as the B-side to their debut single ‘Say You Love Me (Tu As Juré)’. VIENNA captured a promising Gallic electro sound that never got fully realised back in the day. But in Undo’s first retrospective product, they were rescued from obscurity in this lavish boxset.
From the 4CD boxset ‘History 1984-1991’ – BXCDUN39
The concept of FOTONOVELA’s sophomore offering ‘A Ton of Love’ was to produce a supreme electronic record featuring vocalists from all stages of classic synthpop as a homage to the genre. Andy McCluskey was the first to come on board but the resultant song ‘Helen Of Troy’ turned out so well that it ended up on OMD’s ‘English Electric’! Undeterred, the duo recruited MARSHEAUX, KID MOXIE, MIRRORS and Sarah Blackwood who took FOTONOVELA onto a cloudier but enjoyable hitchhike through the North West of England with her feisty contribution to ‘Justice’.
“If Dimitris Biniaris and Theod Kopoul hadn’t formed SAD DISCO, they would probably hate each other” said their enlightening press release. Creative tension can be a positive thing in music, so with interests as disparate as heavy metal, post-punk and err… sad disco, the duo set about making music that was like “the sound echoing in your head while you are walking away from a club”. With hints of THE PRESETS and CUT / COPY, the grooving disco lento on ‘Beat’ provides an appropriate backing for the introvert melancholy of Binaris’ high register vocals.
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is best approached. The album has two distinct modes, one being widescreen synthpop for want of a better description while the other is more naturalistic sonic sandwich heavily influenced by classic and arthouse film soundtracks.
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