Tag: Madonna (Page 2 of 2)

HELIX Twin


The long awaited synth collaboration between the East and West of the United States is finally here.

HELIX marks the musical marriage between the Rhode Island songstress Mari Kattman and the man behind everything ASSEMBLAGE 23, Seattle-based Tom Shear.

Kattman, previously of DAY TWELVE and MARI & THE GHOST, debuted with her personal signature sound on a rather fetching long player, ‘Hover’, where she collaborated with Matt Echo. The record settled in a genre of its own and turned many musical heads, including Shear’s.

It wasn’t the first time that his compass pointed East, as the pair had worked together on his side project SURVEILLANCE, where Kattman provided her vocal skills on ‘Husk’ from ‘Oceania’. Tom Shear needs no introduction within the hard core lovers of electronica; being the musical, lyrical and vocal supplier of ASSEMBLAGE 23, which continuously provides top shelf synth offerings, appreciated not only by those “on the verge of collapse”.

It is therefore imaginable that such collaboration is bound to bring miraculous effects and show yet another side to the Seattle based producer. And indeed the new approach comes out on their debut ‘Twin’, especially with the opening ‘Widescreen’, where floatingly gentle melody creates the base for Kattman’s vocal journey further East.

If she’s out to snake whisper, she certainly succeeds, for ‘Anymore’ ushers a change of mood ear worthy a repeat play time. Subtly subdued, yet containing multiple layers of instrumentation courtesy of Shear, it provides an excellent canvas for the voice reminiscent that of Sharleen Spiteri’s. The power of ‘Bird Of Prey’ accents itself in this uptempo gem, where Shear goes vintage musically and on production, while Kattman channels her inner MADONNA, just like MECHA MAIKO had done on her debut ‘Mad But Soft’ couple of months back.

If you’re expecting ‘Kicking & Screaming’ to do what it says on the tin, you’ll be in for a disappointment. This piercing semi-ballad has plenty of subtle power, that’s best served with the addition of darkness, and perhaps it doesn’t prepare for the corker that is ‘Expensive Things’. Here Shear does what Shear does best: takes that beat and twists it into something amazing, adding a pinch of heavy synth and a dollop of ear teasing percussion, interloping with regularly appearing arpeggios and nudges of beats paying homage to vintage DM via ‘Shout’.

This could be a hard act to follow but ‘We Are’ does a good job regardless, changing the feel into a modern offering of off-beat hipster styles, leading into the school disco of ‘Like A Drug’. What SPECTRA PARIS did on ‘Retromachine Betty’, Mari Kattman does here; enhanced by electrifying guitar, fast paced rhythm and plenty of pink and fluffy synths.

While ‘I May Be Wrong’, HELIX keeps going and now Shear joins Kattman on vocals to make it right. This middle of the road track provides a delicate easy listening experience; star gazing and romantic, making Shear sound a tad like Peter Heppner, which is always a good move.

But the ripe beats return suddenly on ‘Live In My Heart’. And what a fast pleasure that is! Kattman goes quirky with her vocal provision and Shear shows he can do the club feel very well. Pure ASHBURY HEIGHTS on steroids, riding on Space Mountain, getting stoned… hang on, that’s LA based NIGHT CLUB… you get the idea!

As all good things have to come to an end, ‘The Beautiful Unseen’ ushers the wrap for the album. Slightly slower, deeper and marvellously executed, where the piano paves the way for the haunting voice and pointed synth, this closing track leaves plenty of thinking space and hope for continuation.

It comes as no surprise that Shear can deliver musically, it’s also not news that Kattman is a valid artist on her own, but those two twinned together provide higher levels of musical enjoyment.

While the debut offering from HELIX may feel like a mixed bag for some and too demure for others, let’s not forget that musical knowhow is deeply ingrained in the pair, and for their first full album as a newly found partnership, ‘Twin’ provides heaps of listening pleasure.

And if it’s too mainstream for you, go and indulge in ASSEMBLAGE 23 instead. Either way, you won’t miss out on the good thing.


‘Twin’ is released by Metropolis Records on 24th August 2018, pre-order the CD direct from https://www.metropolis-records.com/product/11631/twin

Album previews can be heard at https://www.youtube.com/channel/UCXy3cSLVcbsGBlI4M2pjzLA

https://www.metropolis-records.com/artist/helix

https://www.facebook.com/Helix-744516182407113/

https://www.facebook.com/MariKattman/

https://www.facebook.com/Official-Assemblage-23-138651156153800/


Text by Monika Izabela Trigwell
14th August 2018

MECHA MAIKO Mad But Soft

From DEAD ASTRONAUTS, the lo-fi synth project of Jared Nickerson and Hayley Stewart, a new star is born.

With the name transcending Toronto based Stewart’s fascination with Japanese culture, cyber space and the love of vintage synthesis, MECHA MAIKO releases her debut album ‘Mad But Soft’.

The Geisha-like robot brings a much needed freshness and romance into the world of electronica, and she’s doing it with grace, sensuality and poise. Loaded with rhythmic tunes, ‘Mad But Soft’ ventures into the spheres of delicate femininity, girlishness and synthlicious electro pink, packaged in shiny wrapping and served with a big, glitter coated ribbon.

It’s not your naive, mindless, happy-go-lucky pop songs, however. With nonchalance, Stewart introduces the listener into her magical world of sound, as if the synth was born yesterday. From the title track, with its pulsating East meets West vibe, through the gems like ‘False Memories’, which could have been part of the ‘Stranger Things’ soundtrack, to the unselfishly grown-up ‘Electric Heat’ with its CHVRCHES similarities, Stewart proves she’s not only a capable songwriter but a slick vocalist too.

‘Cold Hard Ground’ opens the long player with a Grimes meets Zola Jesus sound far, far away in snow covered Japan, where they play with their manga inspired synth toys. The robot doesn’t stop there, as ‘Bike Night’ lets those filters open and the magic happen for the most perfect mechanical pop. ‘Tomodachi’ could have been a lost MADONNA tune, Stewart’s vocals resemble the pop princess’, as much as the voice layering and melody interplay.

Once the ‘Contract’ is signed, ‘Auto Fire’ steps in with endless arpeggios over heavily punctuated industrial pulses, smoothed by intricate delicacies of Stewart’s vocal. Before we ‘Fade To Black’, with its strikingly familiar tonality to MAJOR LAZER’s ‘Get Free’, Dana Jean Phoenix meets MECHA MAIKO on ‘Cold’; probably the most danceable synthwave track on the production. The song was partially inspired by WAVESHAPER’s ‘Radio Signal’ and Janet Jackson herself probably wouldn’t shy away if presented with this little gem.

Uncomplicated on the surface yet multi-layered, thought through and simply delicious, ‘Mad But Soft’ does exactly what it says on the tin. Easy listening synthpop, as if lifted out straight from the classic era, is flowing through its veins like mechanically instigated lava; the magma of amalgamation of electric melodies, capable synth and vocals with audible influences from Bjork, Madonna and Robin S. What a debut!


‘Mad But Soft’ is released by New Retro Wave, available as a purple vinyl LP and download from https://newretrowave.bandcamp.com/album/mad-but-soft

https://www.mechamaiko.com/

https://www.facebook.com/mechamaiko/

https://twitter.com/mechamaiko

https://soundcloud.com/mecha-maiko

https://www.instagram.com/mechamaiko/


Text by Monika Izabela Trigwell
22nd March 2018

OUTERNATIONALE ON EP

OUTERNATIONALE is Scottish musician Derek Miller and while ‘ON’ is his debut EP release, he has already worked with several key names from the post punk era.

Miller boldly recorded a cover version of JOY DIVISION’s ‘Atmosphere’ featuring the vocals of Paul Haig which met with the approval of Peter Hook himself and was released on Haçienda Records in 2011. Meanwhile, he mixed and co-produced ‘Dark Light’, the most recent album by cult Factory band SECTION 25.

The ‘ON’ EP boasts four tracks, three of which feature the dreamy voice of Jenny Electrik from electro rock duo DYNASTY ELECTRIK.

The pairing of her with Miller really comes into its own with the magnificent ‘The Moments Before’. With hints of MADONNA during her William Orbit phase, the driving syncopated rhythms act as the backbone to a combination of seductive vocals and hypnotic electronics.

‘World’s End’ is less frantic and gives Electrik plenty of space for self-expression amongst Miller’s synths, while the complex rhythm construction of ‘Careless’ provides structure without being overbearing with a suitably breathy performance

To close ‘ON’, Miller is left to run free on his own with the excellent instrumental ‘Path’; reminiscent of Gary Numan, it is however attached to much more rigid electro rhythmic pattern than perhaps the former Gary Webb would usually indulge in.

In all, ‘ON’ is an impressive debut offering from OUTERNATIONALE that acts as a fine shop window for Derek Miller’s talents as a producer and collaborator.


‘ON’ is released as a download EP by 5 Pin Din Recordings

https://www.facebook.com/outernationale/

https://twitter.com/outernationale


Text by Chi Ming Lai with thanks to Paul Boddy
25th September 2017

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