Halloween might be the time in the liturgical year dedicated to remember the dead, but KNIGHT$ kept things alive and kicking at The Roadtrip & The Workshop in London’s Hoxton.
For James Knights, it’s been a very busy year with albums released as KNIGHT$ and with BOYTRONIC, a UK tour opening for A FLOCK OF SEAGULLS plus assorted European gigs and notable music industry figures knocking on his door, taking an interest in his progress.
Getting through setbacks such as the collapse of Pledge Music, James Knights has shown resilience and strength of character, both much needed skill sets in music. He has also maintaned a down-to-earth demeanour free of ego and delusion, the latter two characteristics now being far too normal in modern society.
But to begin proceedings was Cambridge’s Theo Sayers who released his most recent EP ‘Ado Perma’ last July. Dressed in a similar skeleton costume to the one that his younger self adorned the cover of that said EP, he presented his unusual brand of English hip-hop, like an urban Jona Lewie. Exuding humour and a sense of fun, the set also included his streetwise take on PRINCE’s ‘When Doves Cry’.
Next came the up-and-coming synthwave starlet Roxy Drive, a girl with a self-confessed crush on Ryan Gosling and a voice not far off Pat Benatar. Her debut album ‘Strangers Of The Night’ released in 2018 showed promise and tonight, she aired a number of its highlights as well as premiering some new material.
Accompanied by an electronic percussionist, among the set highlights were the energetic neon drenched first single ‘Run All Night (Chase This Dream)’ and the more recent ‘Dangerous’ from the upcoming album ‘Electric Heart’. The latter showcased a refined development of her MTV friendly sound. She certainly looked the part and her live persona can only grow stronger as she gains more live experience.
For headliner KNIGHT$, it was to be an evening of celebration of ‘Dollars & Cents’, a contender for best electronic pop album of 2019 if ever there was one. Apart from the NEW ORDER derived electronic disco drive of ‘So Cool’, the set was largely drawn from the long player.
Accompanied by the alluring presence of Nina Casey and Jasmine Brady, both on keyboards, James Knights gave yet another of his charismatic performances bursting with energy and enthusiasm.
From the Eurobeat thrust of ‘What We Leave Behind’ and the heavenly pop ‘Playin It Cool’ to the amorous ‘Gelato’ and the snappy ‘Alligator’, Knights was hitting that perfect beat, entering the audience and somehow managing to avoid getting mic feedback. Engaging the audience masterfully, Knights asked everyone who had travelled the furthest to be at the gig. At first, it looked like it was Claudia and Tiffany, both from Berlin. But the undoubted winner was Ana who had ventured all the way from New York.
The brilliant ‘Hijack My Heart’ saw Knights tightening his trousers slightly, although the ceiling was so low at the intimate club venue, it did restrain his usual mic stand swinging antics. However, a pair of covers were thrown in. While PET SHOP BOYS ‘Heart has been a regular staple of the KNIGHT$ live set, there was a supervise inclusion of ‘The Never Ending Story’, a song that has come to prominence again thanks to its inclusion in ‘Stranger Things 3’.
By his own admission “unrehearsed”, with the assistance of a lyric sheet Knights embarked on a fun if slightly shambolic duet with Roxi Drive on the Giorgio Moroder produced classic, but no-one really minded as Roxi held her own and everyone else joined in.
Ending the evening with the album title song and new single, the catchy ‘Dollars & Cents’ captured the essence of the sparkly Britalo that Knights has well and truly mastered.
What a year it has been for the Winchester lad; after years treading the boards with SCARLET SOHO and knocking on the door several times, James Knights has finally found his sound and vocation as KNIGHT$.
With a European Union flag hung at the back of the stage in defiance, KNIGHT$ is just the escapist tonic in these bizarre times and a shining example how much better things are when people are united through music and more.
KNIGHT$ ‘Dollars & Cents’ released by Specchio Uomo is available in various formats as well as the new single including remixes by ITALOCONNECTION + THE HIDDEN MAN from https://knights101.bandcamp.com/album/
Holger Wobker, the man who many consider to be the original BOYTRONIC is back after 10 years with a new album ‘The Robot Treatment’.
Interestingly to assist his recorded return, Wobker has partnered up with BOYTRONIC’s former vocalist James Knights.
Never before in the history of pop music has a predecessor collaborated with their replacement to make a new album, try to imagine John Foxx and Midge Ure working on a new ULTRAVOX album together?
Vintage flavoured HI-NRG and Italo reigns supreme on ‘The Robot Treatment’. Best known for the German Top10 hit ‘You’ in 1983, Wobker’s aim was to return with a record that was as BOYTRONIC as possible and when he met Knights in 2018, they found a common bond both personally and musically.
‘Under The Red’ exudes Wobker’s enthusiasm, but the album really takes off with ‘All You Can Eat’, a spirited falsetto duet by Wobker and Knights that doesn’t sound unlike members of NEW ORDER jamming along to BRONSKI BEAT’s ‘Hit That Perfect Beat’!
Also particularly good is ‘You Can’t Get Fooled By Love’, a great tune with more than a nod to PET SHOP BOYS ‘West End Girls’, while the bubbling ‘She Gave Me Money’ is authentic Eurodisco for the cassette player of any Opel Manta owner; both are classic BOYTRONIC.
‘Smell Of Fire’ takes on a moodier Italo stance with a digital slap bass, but ‘No Sad Songs’ is singalong Europop, laced with synth brass stabs which could easily mutate into a KNIGHT$ solo tune. The spacier ‘Venus Covers Mars’ has a good verse although the chorus is not quite as appealing. Bright and breezy with simulated guitars, ‘Wayward Sister’ perhaps needs more of a bass drum kick but the synthetic choirs and bells are pretty.
Closing with ‘Can’t Wait A Second’, the track’s immediate bounce might have benefitted being placed earlier in the sequence.
But as with the arpeggio laden ‘Bark’, Wobker’s vocals are a bit raw and wayward at times, which might be off-putting for listeners not previously into the charms of BOYTRONIC.
However, the objective of making a BOYTRONIC album that sounds like BOYTRONIC has been achieved. And with live shows coming up, the big speaker environment of a club and the vibrant extrovert personality of a front man with something to prove may well see ‘The Robot Treatment’ really come into its own.
Out of the bands that emerged post-Synth Britannia, A FLOCK OF SEAGULLS were among those to actually make a worldwide cultural impact, initially gaining traction in the US via the cable phenomenon of MTV.
While frontman Mike Score’s outlandish hair style was honoured in Hollywood with comic references in ‘Friends’, ‘The Wedding Singer’ and ‘Pulp Fiction’, their fourth single ‘I Ran’ has been a ubiquitous staple, appearing in commercials for Grand Theft Auto Vice City, Sensationail, Diet Pepsi and Lexus. Greek synth duo MARSHEAUX even borrowed the main riff from ‘Space Age Love Song’ for their signature tune ‘Dream Of A Disco’.
Today, Mike Score is the only remaining member from the original line-up which included his brother Ali on drums, bassist Frank Maudsley and guitarist Paul Reynolds. Notably his hair is now absent, while his scouse accent has mutated into a Trans-Atlantic drawl from years of living stateside.
Dingwalls in Camden was packed for the second London date of A FLOCK OF SEAGULLS’ first headlining UK tour for many years and opening proceedings was KNIGHT$ whose debut album ‘Dollars & Cents’ has been one of the contenders for best album of 2019.
Photo by Richard Price
Fronted by the suave and charismatic James Knights, dressed in a black leather jacket and sequined shirt combo, he began support set with Eurobeat thrust of ‘What We Leave Behind’ and the heavenly pop ‘Playin It Cool’.
Playing the role of the perfect beat boy, Knights was slightly restrained physically, thanks to the small stage, but he made every effort to engage the audience with his brand of BRONSKI BEAT inspired Britalo like the amorous ‘Gelato’.
Meanwhile, the snappy ‘Alligator’ provided an amusing observation on the phenomenon of one-sided conversations. ‘Julia’ offered a more romantic take on the appealing KNIGHT$ sound while presenting a token of musical friendship to the audience, there was an authentic rendition of PET SHOP BOYS’ ‘Heart’. The slinky ‘What’s Your Poison?’ appropriately threw in some sunset sax at the riverside venue, before the catchy ‘Dollars & Cents’ closed an impressive warm-up on an already hot Saturday evening.
Standing behind a Roland Fantom 06 outputting crystal clear electronic sounds, Mike Score took his position to begin A FLOCK OF SEAGULLS’ performance with the vintage Sci-Fi rock of ‘Modern Love Is Automatic’. Backed by his usual North American band of guitarist Gordon Deppe from Canadian New Wavers SPOONS, drummer Kevin Rankin and bass player Patrick Villalpando, the debut album opener was followed by ‘Hearts On Fire’ from 1995’s ‘The Light At the End Of The World’ which had the classic air of ‘Space Age Love Song’ about it.
Photo by Roger Kamp
With a rockier growl to his vocal presence, the gothic gloom of ‘Nightmares’ came over more like THE CURE, but the darkness turned to light as the under-rated ‘The More You Live, The More You Love’ provided the first rousing moment of the evening for the mature audience.
The moody ‘Man Made’ and more Motorik ‘She Won’t Let You Down’ showcased varied aspects of the band beyond their singles, but 1983’s UK Top 40 hit ‘Transfer Affection’ was spoiled by some unnecessary bombast and Score being unsure of what octave to sing the tune in.
However, a magnificent rendition of that paean to neu romance ‘Space Age Love Song’ snatched victory from the jaws of defeat, aided by Rankin’s use of a synth drum and his bandmates’ triple call-and-response vocal, while Deppe ably reproduced the textures of original guitarist Paul Reynolds.
Photo by Richard Price
That said though, it all got awry again with the quartet going all SIMPLE MINDS with a prolonged reinterpretation of ‘Telecommunication’; the song was originally two and a half minutes for a reason!
Throughout the show, while Score did speak to the audience, it was the more flamboyant Villalpando who acted as Master Of Ceremonies with a loud “rawk” address that although probably endearing across the water, may well have been anathema for British audiences.
‘Wishing (If I Had a Photograph of You)’ was the moment many were waiting for. A Top 10 UK hit in 1982, it was interesting to be reminded that most of the song’s hooks were instrumental rather than vocal while inspired by a photo of two people running from a UFO, the brilliance of ‘I Ran’ ended the main set.
Photo by Simon Helm
There was room for an encore and that came with the pleasant surprise of ‘Messages’ from the self-titled debut album, with its more guitar driven dynamics enabling the quartet to fire on all cylinders. There was no ‘D.N.A.’ or ‘(It’s Not Me) Talking’ but on the whole, the crowd were entertained and satisfied.
When things were good, it was glorious at Dingwalls and while some may only remember the iconic haircut rather than the music, what A FLOCK OF SEAGULLS have proven is they have a number of great songs which more than stand up in the 21st Century.
And unlike say OMD, DEPECHE MODE and SIMPLE MINDS, they also have a Grammy Award on the mantelpiece. A FLOCK OF SEAGULLS more than deserve their place in British pop history.
With thanks to Debora at London Variety
A FLOCK OF SEAGULLS ‘Inflight (The Extended Essentials)’ is released by August Day Recordings in various formats available from http://www.augustday.net/aday054.html
Now imagine John Foxx and Midge Ure teaming up to do a brand new ULTRAVOX album…
While not sounding like the synthesizer pioneers who named themselves after the Latin phrase meaning “extreme voice”, Holger Wobker and James Knights have done the equivalent and got together to make a brand new album as BOYTRONIC.
Having gained the rights to the name, Wobker was highly motivated and appropriately, their first fruit of collaboration was called ‘Proving A Point’. Having appeared earlier in the year on the debut KNIGHT$ album ‘Dollars & Cents’, Knights said: “I had a demo of this for many years but the idea to do this with Holger obviously came later. We’ve both had similar experiences and difficulties so we thought with this track, let’s tell it as it is, we needed to let something out.”
But the first BOYTRONIC track to emerge from the Anglo-German pair is ‘All You Can Eat’, a spirited Eurobeat duet in which both Wobker and Knights hit those high notes with aplomb. Meanwhile musically, ‘All You Can Eat’ doesn’t sound unlike members of NEW ORDER jamming along to BRONSKI BEAT’s ‘Hit That Perfect Beat’!
Of his new partnership with Knights, Wobker said: “James understands exactly what BOYTRONIC is about. I don’t have to say much when we’re communicating ideas, it all comes naturally. Even when I’m drifting away, he puts me on the right track. We both have a vision how it’s got to be, and that’s great.”
Crossing HI-NRG with Britalo, the new BOYTRONIC album ‘The Robot Treatment’ promises to be an authentic analogue journey to create a full and groovy electronic sound.
BOYTRONIC had the misfortune to get embroiled in the Pledge Music debacle, resulting in loss of money for both the band and fans. However, Holger Wobker and James Knights have made a joint statement announcing: “If you are a fan who took part in our crowdfunding campaign, we are truly sorry for the inconvenience Pledge Music’s bankruptcy has caused. We are aware some people have received refunds direct from their bank. Others have not. Despite countless attempts to contact Pledge Music for information on where the money went, we have been kept in the dark now since February 2019. If you are a Pledger who wants to buy direct from the band, we are offering a 10% discount in our Bandcamp store. You can contact [email protected] for your discount code!”
The limited edition signed CD or vinyl LP of ‘The Robot Treatment’ is released on 6th September 2019 and can be pre-ordered direct from https://boytronic01.bandcamp.com
BOYTRONIC play Berlin ORWOhaus on Saturday 7th September 2019 with support from !DISTAIN
Combining the Italo spirit of SAVAGE and RAF with British exponents of the form such as PET SHOP BOYS and NEW ORDER, the debut album by KNIGHT$ is one of the best albums of 2019.
‘Dollars & Cents’ is one of those fine immediate electronic pop records, ideal for these turbulent and uncertain socio-political times.
The solo musical vehicle of James Knights, his bright crowd pleasing nature has made him a must-see live performer following well-received gigs in Europe.
With a stylish energetic persona coming over like the love child of Richard Butler and Neil Tennant, the catchy glitterball Britalo of KNIGHT$ will be playing all in clubs over the UK in July as the opening act for A FLOCK OF SEAGULLS.
Gathered together in the corner of a bar in Hoxton to avoid the barrage of televised football, James Knights chatted to ELECTRICITYCLUB.CO.UK about the making of ‘Dollars & Cents’, working with ITALOCONNECTION, plans for his upcoming shows and surviving the vultures circulating in the music industry…
‘Dollars & Cents’ appears to have been a well-received escapist triumph?
I think so, so far it feels like all the objectives have been achieved. Maybe people were feeling a bit of doom and gloom with Brexit so needed a lift; it definitely did that in the short term.
Was ‘Dollars & Cents’ a natural choice for the title track, did you have a theme in mind for the album?
I knew I wanted the album to be as uplifting and uptempo as possible. In terms of the album title, it seemed to make sense, only because as I went through all nine tracks, that was the one that jumped out at me. I later found out RADIOHEAD had a song called that which was quite disappointing…
You achieved some of that authentic ‘Gelato’ flavour by working with Italo legend Fred Ventura on three tracks, how did the association come about?
I have to thank YouTube for this because I was listening to a lot of Italo playlists and this song came on… I looked up who it was that made it, but I didn’t make the connection between Fred and ITALOCONNECTION. Once I realised, I thought maybe we could do something and I wrote a message to him.
Fred was a total gentleman about being open to working together and when I sent him ‘Alligator’, he completely wanted to get involved. It’s funny, but he said “It’s synth music but it reminds me of THE CLASH”, so thank you Fred and his partner Paolo, they did a good job.
One of ELECTRICITYCLUB.CO.UK’s Italian friends thought the middle section with the girl speaking sounded a bit “porno”, was that the intention? *laughs*
I have to say, it wasn’t that thought out… my vocals require many takes but that part with the Italian girl Monia Rega took two! I asked her to sing on the track, the first take she did very well but the timing wasn’t quite what I wanted, the second time she got it completely bang on. There was never a discussion about this so I don’t know what to say, we were looking for a vibe but we never mentioned anything dodgy like that! *laughs*
You know there was a weird European TV game show called ‘Tutti Frutti’ where contestants answered questions to get strippers to take their clothes off???
No! *laughs*
‘Hijack My Heart’ had you tightening your trousers for a great Jimmy Somerville impression?
In many other projects that I’ve been in before, maybe I didn’t have the guts to go up that high but it needed to be done. I’ve sung high live but never quite got there on the records. It seemed like a good idea at the time.
It works really well; did you have BRONSKI BEAT in mind when you recorded ‘Hijack My Heart’?
I have to say if I’m going to break down all those elements, the song that I always come back to is ‘Hit That Perfect Beat’ by BRONSKI BEAT… I don’t know if it’s the production or what and I know Jimmy isn’t singing that one, but it’s got a vibe I like it.
Did you raid your sister’s record collection for inspiration, because ‘Running’ isn’t that far off early MADONNA?
Yes, it’s got a bit of that and definitely some Whitney, it was like a “let go” thing to get me out of my comfort zone! It was the hardest track to finish and mix so when I breakdown that whole record, it’s the one where I haven’t had that many opinions on. I think it’s because it just happens, it’s very natural and appears at the end of the record… maybe time will tell, it takes a couple of listens for it to really work. That was the nearest thing to an experimental moment on the album.
Talking of experimental moments, ‘Proving A Point’ is perhaps the most unorthodox track on the album, featuring Holger Wobker of BOYTRONIC…
Yes, it is different from the other tracks on the album, I had a demo of this for many years but the idea to do this with Holger obviously came later. We’ve both had similar experiences and difficulties so we thought with this track, let’s tell it as it is, we needed to let something out.
I really like ROBYN and her albums always have a couple of tracks in, these diversions that give the album some sense within the pop.
So ‘Proving A Point’ is your ‘Konichiwa Bitches’?
Yes, I felt we needed it! *laughs*
What was the idea behind the throbbing ‘Shadows’, another track with Fred Ventura?
That goes back to a demo I had on this old four track TASCAM, I’d played all the synths and they were completely out of time. We knew which tracks were going to go down first on the album but I dragged out this demo, it needed a touch up and ITALOCONNECTION did an amazing job. It’s nice to resurrect things because it means you didn’t waste your time all those years before. It’s got a nice YAZOO feel to it.
Photo by Gilbert Yates
‘Dollars & Cents’ is a pretty straight-up full-on uptempo electronic pop album over nine tracks, had that been a conscious decision, are albums too long now?
Yeah, I could watch my favourite band of all time and two hours would be too much! I know other music fans think differently, but a good hour of anything is fine, my album is not even that!
What do you think of this new trend for two volume album works like MARINA, THE 1975 and TR/ST have done?
I wouldn’t do a debut album that way but maybe there’s room for it later on. But I really can’t imagine doing that, it’s hard enough work trying to write good songs without having then to find a thread, it’s not in my way of thinking.
For both ‘Dollars & Cents’ and the new BOYTRONIC album you’re involved in, you used Pledge Music and there have been some very public difficulties with its cashflow; how has this hampered you as an artist?
If it wasn’t for having a good fanbase, it would have been a complete disaster. But going with Pledge Music when I did was the worst thing I could have done, I went in at the wrong time! You have to think that the music will live on and that people will back you. People will back whatever they believe in and luckily, I’ve had many messages of support and we just got on with it, all of the fans have been great.
So what is happening with the upcoming BOYTRONIC album?
That’s was a bit tricky because I was meant to be paid by Pledge in December, so I’ve put my own money into recording the BOYTRONIC album. Obviously, I’m still down because the album’s not yet released, but I hope that it all comes good. A hell of a lot have bands like JESUS JONES have been inconvenienced and very vocal about the situation, but the only way we are going to get any solace from this is the music.
As history has proven, there is always someone in the music industry misappropriating money trusted to them by artists and fans. So is there a future to crowdfunding because no matter what happens, it seems like artists are just making money for a different type of crook?
I once did a calculation based on a record deal I was offered… I could sell 1000 myself or with the record deal, it would give me wider growth and expose me to more people, but I would earn exactly the same money if I sold 8000!! In this day and age, it’s so hard to sell 8000 copies of anything that it’s better to keep everything in house probably and try to sell 1000. People will say that’s short sighted but I don’t think it is.
Even at an independent level, there are people getting into the music industry who apply a smokescreen for more sinister intentions, be they DJs who hate the 80s doing 80s radio shows or event promoters who believe ticket touts are “free enterprise”. Any thoughts?
They will always be there, and unfortunately there will always be artists who take the same view… any artist that doesn’t believe in what they’re making, they’re in the wrong game… what can I say? it’s survival of the fittest.
Photo by Chi Ming Lai
On a more cheerful note, your album launch party in London was a great success and even led to you inviting the audience to join you on stage just like early SOFT CELL gigs?
It was a big rush, because you never know what’s going to happen at gigs, you know what London is like. The fact that people came out and really got into it, it was brilliant. My stage is their stage and I wouldn’t really want to create a divide.
I’m not interested in crash barriers, if people want to come up, they should be able to come up. I would rather someone join me on stage and lose their minds.
You had an interesting gig is Sweden because of the venue set up?
That was in Halmstad, the original gig had been cancelled and they moved us to what seemed like the local Wetherspoons, I was on at two in the morning and it was crazy! *laughs*
The Swedes love their Italo…
I think it’s just an appreciation of melody coming through via the ABBA tradition, they really know a good song when they hear one. If there wasn’t any melody, we wouldn’t remember anything.
Photo by Chi Ming Lai
You’re touring this UK with A FLOCK OF SEAGULLS?
I’m really excited about it and looking forward to going round the UK again with two nights in London, there’s a lot to be thankful for.
I’ve always loved A FLOCK OF SEAGULLS, I know they get a lot of stick with the haircuts and whatever, but they’re far better than people give them credit for. The songs aren’t that far from THE CURE, let’s be honest! It’s nice to be part of it.
So for those people who may not know what you are like live, why should they come along and arrive early?
They’d be fools not too! I have some nice surprises up my sleeve but for every person who has decided to sit in the pub to have an extra beer, I will match that beer! So if they turn up early, the beers are on me! *laughs*
What’s on the cards for the future?
I’d like to make another record as soon as possible but it always takes longer than you think, but we’ll have to see. And it would be nice to do an end of year show somewhere…
ELECTRICITYCLUB.CO.UK gives its warmest thanks to James Knights
KNIGHT$ opens for A FLOCK OF SEAGULLS on the following 2019 UK tour dates:
Wolverhampton Robin 2 (11th July), London Dingwalls (12th-13th July), Liverpool Cavern (14th July), Leeds Brudenell Social Club (17th July), Newcastle Riverside (18th July), Glasgow Art School (19th July)
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. Best known for the German Top10 hit ‘You’ in 1983, Wobker’s aim was to return with a record that was as 
, Knights said: “I had a demo of this for many years but the idea to do this with Holger obviously came later. We’ve both had similar experiences and difficulties so we thought with this track, let’s tell it as it is, we needed to let something out.”
, a spirited Eurobeat duet in which both Wobker and Knights hit those high notes with aplomb. Meanwhile musically, ‘All You Can Eat’ doesn’t sound unlike members of 
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