Tag: Marsheaux (Page 6 of 11)

MARSHEAUX Suffer The Children

MARSHEAUX have recorded a cover of TEARS FOR FEARS ‘Suffer The Children’.

TEARS FOR FEARS’ first single was written by Roland Orzabal reflecting the Bath duo’s interests in Arthur Janov’s Primal Scream therapy to deal with the traumas of childhood; a re-worked version appeared on their classic 1983 debut album ‘The Hurting’. The enticing reinterpretation is accompanied by a suitably moody black and white video filmed in Berlin; watch carefully for Sophie and Marianthi’s fleeting cameo appearance…

The mood of the innocent childlike vocal refrain in the bridge of the original is maintained throughout MARSHEAUX’s version. The contrast of a wispy female lead vocal paradoxically adds extra resonance to the weighty poetry of ‘Suffer The Children’.

MARSHEAUX chatted to ELECTRICITYCLUB.CO.UK about the genesis of ‘Suffer The Children’ while also discussing some of their favourite covers and ones which didn’t quite work out…

‘Suffer The Children’ is an interesting song for you to cover, what inspired this?

We were on our way back from our vacation last year and were listening to ‘The Hurting’ album in the car. We were thinking of covering DEPECHE MODE’s ‘Get The Balance Right’ but then suddenly the CD player played ‘Suffer The Children’ and we changed our minds. Whenever we listen to it, it always brings JOY DIVISION in our minds, sounding like what would have happened if they’d decided to play electronic music.

The lyrics of ‘Suffer The Children’ are quite heavy for a pop song. How did you find trying to relate to them?

True, the lyrics are heavy for a pop song. These emotions are coming both ways, from parent and child. You can take the place of both, as a kid and as a parent.


What did you consciously do to make this cover as different from the original as possible?

First of all the vocals are female. Immediately the song softens its dark edges and becomes more poppy. The production is modern and all the samples that we used are from synths and applications like Circle, Alchemy, Synthmaster and Massive.

The guitar solo has been recreated with a synth? How did you achieve this?

We have used a bass from the Korg MS-20 and put it through flanger, distortion and a Boss BC-1X bass compressor pedal.

Your version also reveals the song’s OMD inspired roots?

There is always an OMD inspiration in the full MARSHEAUX catalogue *laughs*

This is actually widely known. If you listen to the original TEARS FOR FEARS version though, you can sense the OMD similarities there too.

Where do you think TEARS FOR FEARS sit next to bands like DEPECHE MODE, OMD and ERASURE?

‘The Hurting’ is a masterpiece. It stands next to other great albums like THE HUMAN LEAGUE’s ‘Dare’, ABC’s ‘The Lexicon Of Love’, OMD’s ‘Architecture & Morality’ and YAZOO’s ‘Upstairs at Eric’s’. Every single track could have been a perfect single.

The strange thing with TEARS FOR FEARS is that each album by them represents musically and culturally, a different period for the band. Maybe it is because they had big gaps in between albums or maybe their concepts, motives and targets were different each time.

They became huge in the USA with ‘Songs From The Big Chair’, and maybe lost their street cutting sense and their artistic value (you know the whole Arthur Janov’s background with ‘primal therapy’ on ‘Suffer The Children’) but this doesn’t belittle the value of their songs.

Even the singles from their Beatles-ish album ‘Seeds Of Love’ are amazing. They surely can stand next to DEPECHE MODE, OMD and ERASURE. They are one of the great bands we have passionately loved and still do. Their lyrics are always incredible. “Memories fade… but the scars still linger”, it’s so wonderful

MARSHEAUX have some great covers. Which ones do you feel have been the most satisfying artistically for you?

THE LIGHTNING SEEDS ‘Pure’ is a favourite for both of us, as well as BILLY IDOL’s ‘Eyes Without A Face’ which was the most successful one. Imagine, this last one was supposed to be bonus track on ‘Breakthrough’ single but Out Of Line, our record company back then, didn’t like it and didn’t want to include it as a bonus in the single.

Choosing a cover can be difficult. Have there ever been any you attempted that didn’t work out?

Yes, there were actually two not very fruitful attempts. The first one was THE PRIMITIVES’ ‘Crash’ and the second was PETE SHELLEY’s ‘Homosapien’!


ELECTRICITYCLUB.CO.UK gives its warmest thanks to MARSHEAUX

‘Suffer The Children’ is released by Undo Records as a download single and available via the usual platforms

http://www.marsheaux.com/

https://www.facebook.com/marsheaux/

https://twitter.com/marsheaux

https://www.instagram.com/marsheaux/


Text and Interview by Chi Ming Lai
23rd August 2016, updated 16th February 2021

KID MOXIE Perfect Shadow

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.


‘Perfect Shadow’ is released on CD by Amour Records, available via https://kidmoxie.bandcamp.com/album/perfect-shadow

http://www.facebook.com/kidmoxie

http://soundcloud.com/kidmoxie

https://twitter.com/KIDMOXIEMUSIC


Text by Chi Ming Lai
Photo by George Geranios
1st August 2016, updated 30th December 2017

MARSHEAUX Interview

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Despite their last album of original songs ‘Inhale’ having been released back in 2013, MARSHEAUX have not been idle, issuing a well-received cover album of DEPECHE MODE’s second long player ‘A Broken Frame’ in 2015.

Riding on the sinewave of its unexpected success, the Athens based synth maidens toured Europe, engaging new audiences in Poland and Sweden as well as performing to the synthpop faithful in the recognised MARSHEAUX friendly territory of Germany. Building further on their profile following ‘A Broken Frame’, Marianthi Melitsi and Sophie Sarigiannidou made their full return with ‘Ath.Lon’ in June.

The ten new songs possess a subtle tone of aggression while retaining the dreamy wispiness of classic MARSHEAUX. They also reignite the vibrant tempo spark that was perhaps missing from some of the tracks on ‘Inhale’ and artistically harks closer to ‘Lumineux Noir’, a body of work that many observers consider to be MARSHEAUX’s best. The duo will also make their first UK live appearance since 2012 on SATURDAY 5TH NOVEMBER at Norwich Epic Studios, when they play alongside KID KASIO and RODNEY CROMWELL.

MARSHEAUX kindly chatted to ELECTRICITYCLUB.CO.UK about ‘Ath.Lon’ and the challenges it presented from being a product of two quite different cities…

Your ‘A Broken Frame’ covers album appears to have been very well received around the world. Why do you think this has been?

When we started to work on ‘A Broken Frame’, we thought we should make it as if it was released in that early 80s era, but with female vocals. We managed to create that in full, on the extended version of ‘My Secret Garden’. We couldn’t do it though with tracks like ‘Monument’, ‘See You’ and ‘A Photograph of You’.

With these tracks, we tried something different that turned out really nice. We liked it. It turned out that people liked it too, which makes us extremely happy. We showed respect to the original songs and the listeners felt that. The artwork was like an expansion of the original and the music was faithful to the original ideas. The audience validated our idea and we felt that it was a worthwhile attempt, a really serious work of love.

Are you planning to do any more covers or is that it?

We are going to release a 10 inch limited edition of ‘Get The Balance Right’. This will be the last one from the ‘A Broken Frame’ period. ‘Get The Balance Right’ was DEPECHE MODE’s first single after the release of ‘A Broken Frame’, but it never appeared on ‘Construction Time Again’. So you can tell that it belongs to the same period.

Your set at Electronic Summer 2015 in Gothenburg was very well received by the audience. So what’s so special about Sweden?

People from Sweden have an unbelievable awareness about electropop music. They do appreciate a good concert and they are in no way a ‘dead’ audience. Even in-between live performances, they were dancing to Robert Maelow and THE SILICON TEENS’ singles. It was absolutely fantastic. We were supposed to be backstage, but we spent most of the time hanging around with people. We had a great time at Electronic Summer in Gothenburg.

As a result, you were asked by VNV NATION to support them on their recent tour of Germany. How did you find connecting with their audience in a live context as VNV’s music is quite different from your own?

Their audience was really different indeed. All the venues we played at with VNV were packed and it seemed as if you’d joined a security firm convention *laughs*

Everyone was dressed in black, like a strict uniform. Somehow Ronan convinced the audiences to be there from early on to catch the guest act and during our performances, the venues were fully packed, something we do appreciate a lot. It made us feel warm and welcomed. Ronan is a fantastic person. Mark, as well. He’s so tall – as big as a wall [sic!]

He looks different on stage but when you meet him person-to-person, he’s really funny. They both offered us great hospitality. Maybe they have some Greek blood in their veins? *laughs*

The new album is called ‘Ath.Lon’, how do you explain its concept?

‘Ath.Lon’ is our first album that was being worked in two countries. We worked on five tracks in Greece and the rest of the album was done through a lot of emails and plenty of London-Athens back-and-forth travelling. That is how the title came out.

You chose ‘Safe Tonight’ to launch the album?

It’s a classic Marsheaux track. It follows our tradition for uplifting summer songs. It’s ideal for driving. We love it a lot.

‘Ath.Lon’ appears to showcase a subtle, but more aggressive side to MARSHEAUX like on ‘Burning’, how has that come about?

Actually, only ‘Burning’ is a bit aggressive. All the other tracks are pure pop. We like working on those sorts of tracks – more aggressive – but we always end up with pop songs. It seems that our pop side is stronger than the aggressive one.

‘Strong Enough’ sounds a bit like CHVRCHES, are they the saviours of synthpop?

CHVRCHES are fantastic. You can’t find a mediocre song on their albums and they have managed to have this amazing balance between the strong compositions, the vocals you can’t easily forget and this huge production. We like them a lot and we are very happy to see that they get the success they deserve.

So “It’s The Beginning Of The End”?

Maybe yes, maybe no… we’d expand our thoughts with SMASHING PUMPKINS ‘The End Is The Beginning Is The End’, their awesome theme for ‘Batman & Robin’ back in 1997…

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How did you decide which songs ended up on ‘Ath.Lon’ and others like ‘Butterflies’ and ‘Treasure’ were bonuses?

We tried to make the final ten track listing at least ten times! Each time, we added a different track in. Finally we asked George and Nick from Undo Records to do it for us, so they decided for the final track listing. We gave up, it was hopeless.

Which are your favorite songs on ‘Ath.Lon’?

Sophie changes her mind every time. Now it’s ‘The Beginning Of The End’. It’s the ‘Sorrow’ track of ‘Ath.Lon’. Mellow and epic at the same time, we always try and put a track that is not strictly electropop.

Marianthi loves ‘Like A Movie’, it makes her feel positive and happy.

You’re still doing remixes for other artists and the latest one ‘Dirty Air’ for KID MOXIE appears to have a big DM influence?

KID MOXIE was the last one we did. We stopped doing remixes to concentrate on our new album. But Elena’s original track was very good and we couldn’t resist it.

Have you tried these new old styled synths like the Prophet 12, Pro2 or Korg ARP Odyssey?

We tried Korg’s Monotrons, but they’re like toys. After a while you get bored of them. We prefer messing with our Polysix or Monopoly instead. We haven’t checked Prophet 12 yet though.

After your question, we were intrigued to check the Korg ARP Odyssey though. Although we didn’t like the reissue of Korg MS-20 Mini, the reissue of ARP Odyssey sounds fantastic. It’s stable and flexible and the sound is totally analogue. The mini-keys are not a problem for us as our fingers are small and we are used to our Micro-Korgs after all these years. Maybe men won’t like these mini-keys *laughs*

It’s been a while since you played to UK, but you are returning in November to play in Norwich…

It’s always a pleasure to play, we love to play in front of people who know our songs and what MARSHEAUX is all about. ELECTRICITYCLUB.CO.UK was there for us from the very beginning. You can’t turn your back on this.


You appear more comfortable with live work than in the past?

That is true. Being on stage is not our absolutely favourite part of the procedure. Although with years of having all these lives, it is much better. We always have a ritual before going on stage that makes it kind of easier. Maybe we got to be in front of huge audiences too early, it was kind of a shock. Either way we manage today to have a confidence and be more communicative.

What the world needs right now in these turbulent times is love?

We always loved talking about love in our songs. Love is the driving force in everything. Sometimes it is really hard to express it in a song within two verses and two choruses. We really envy people that can do that fluently. In many occasions, we’ve discussed about OMD using the word love in ‘Junk Culture’ for the first time. It is so weird.

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How do you feel about how the electronic scene is developing now, especially with acts like YEARS & YEARS being called synthpop?

How can you put YEARS & YEARS and CHVRCHES under the same roof? YEARS & YEARS are NOT synthpop. Placing two synthesizers in front of a band doesn’t make them a synthpop band. Synthpop is a lot of other things, not just a synthesizer. Apart from the music, there is also the attitude in a band.

Υou can tell DURAN DURAN’s debut is synthpop, even if there are real drums, bass and guitar on all tracks. We saw an article that said they were “an electronic band with a heavy rock guitarist bolted on”. It’s the same with ULTRAVOX and many other bands.

For sure you can’t say that YEARS & YEARS are synthpop. Maybe the production is electronic, but the entire attitude is not. With a different production, the album would be like Adele! Would you call Adele’s ‘Send My love (To Your New Lover)’ synthpop? No, but with a different production it would stand as synthpop, if we accept that YEARS & YEARS are synthpop. You could make a superb hypnotic electro dance track with Adele’s ‘Send My Love (To Your New Lover)’, which is an absolutely fantastic track.

On the other hand, we are really happy that the electronic scene is growing and growing well through the other music genres. You hear electro hip-hop from artists like Kanye West, or totally electro synth tracks from totally pop artists like Katy Perry and Taylor Swift. This is a fantastic period. So much beautiful stuff to listen to!


ELECTRICITYCLUB.CO.UK gives its warmest thanks to MARSHEAUX

‘Ath.Lon’ is released by Undo Records in a variety of physical and digital formats

http://www.marsheaux.com/

http://www.undorecords.com/

http://www.epic-tv.com/events/tec004-the-electricity-club-ft-marsheaux-kid-kasio-rodney-cromwell/


Text and Interview by Chi Ming Lai
19th July 2016

MARSHEAUX Ath.Lon

A fair few years have passed since Marsheaux debuted with ‘Popcorn’ in their native Greece.

Marianthi Melitsi and Sophie Sarigiannidou had been bred on the staple diet of all the correct electronic acts of the synth dominated age: DEPECHE MODE, ERASURE, THE HUMAN LEAGUE, OMD and NEW ORDER being firm favourites. 2004 heralded their first album, ‘E-Bay Queen’ on Undo Records, which was duly noted in the “we love anything synth” circles across Europe.

It was followed by ‘Peek A Boo’, which included the magnificent take on New Order’s ‘Regret’. It wasn’t until the third LP, ‘Lumineux Noir’, that the duo got a widespread recognition, leading to festival appearances and securing valuable support slots as well as remixing many of their genre’s peers.

‘Inhale’ was what the Greek songstresses described as “atmospheric electro pop”, and 2015 brought their most daring project yet, a cover of the entire of ‘A Broken Frame’ by DEPECHE MODE. Courageous as it was, the pair managed to grasp the soul of the most unloved DM album and transform it into a new dimension of unconventional sounds and vocals.
And now comes ‘Ath.Lon’.

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The opus’ title, as obscure as it may sound, actually derives from the names of two cities: Athens and London. Both capitals served as a core for MARSHEAUX ‘s new material, with Marianthi moving to London, forcing journeys between England and Greece. The ten tracks were produced by MARSHEAUX themselves, with Undo house production duo FOTONOVELA and Rodrigo Silva-Ramos, while mixed in London by Nikonn and Dominique Brethes at FloW Mastering.

The opening ‘Burning’ is harsh, sexy, in your face, and with clear Numan influences. The soft voices mesmerise beyond control, weaving in between the heavy synth havoc, leading onto ‘Like A Movie’; a classic, cheerfully uncomplicated synth pop tune with a Motorik backbone, modelled on early DEPECHE MODE.

‘Sunday’ steps in with demure vocals over a slower paced track. The excellently layered sounds float above the clouds of regal electronica, before the classic sounding ‘Wild Heart’ enters, with NEW ORDER-esque guitar added to a piece SAINT ETIENNE wouldn’t be ashamed of. ‘Now You Are Mine’ superbly towers above the rest, with confident vocals, packaged within a dose of ‘Ultra’ era DEPECHE MODE, while ‘Strong Enough’ is an effervescent amalgamation of sassy, crunchy and capable synth, laced with the signature sexy rendition from Sophie and Marianthi.

The first single heralding ‘Ath.Lon’ is ‘Safe Tonight’. This light-hearted nod to classic synth is optimistic, sunny and warm. The superb production bursts into being with this subdued, yet powerful number. ‘Let’s Take A Car’ brings the tempo to “fast is best” again, where the girls want to “mess around all night”, driving around the city and making “a fuss… so madly in love”. It’s yet another untroubled track reminiscent of the best early electronica.

The closing ‘The Beginning Of The End’ ominously wraps around the production with excellent tonality and superb vocals. MARSHEAUX really leave the best till last here; including astonishing strings, marvellous synth and the atmosphere of uncertainty and despair, this can only equal an evocative synth track which the audiences have grown to expect from the proficient Greek Goddesses.

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If the above wasn’t enough, MARSHEAUX have treated the grateful receiver to five additional tracks as a bonus. iTunes exclusive ‘Butterflies’ flutters with classic Sophie / Marianthi hooks while from ‘The.Ath.Lon’ boxed set, ‘Happiness’ glows with Greek sunshine, while the tempo slows down with ‘How Beautiful’ and ‘Stay Wild’; the latter laced with excellent synthscapes. A faster pace returns to wrap up the gift with ‘Treasure’, which is bursting with zest and freshness, leaving the listener wishing there was more to come.

The obvious success of ‘A Broken Frame’ seems to have elevated the duo to the comfort of having the ability to look into the future through a lens of optimism and new found confidence. ‘Ath.Lon’ could also stand for “athlos”, meaning achievement for the pair, with this glorious production crowning their twelve years’ of accomplishments. MARSHEAUX do not disappoint, bringing the ever fresh, uncomplicated and honest material, whilst remaining unassuming and true to themselves. It’s another triumph.


‘Ath.Lon’ is released by Undo Records in CD, vinyl and download formats, iTunes version contains the additional track ‘Butterflies’

‘The.Ath.Lon’ limited 2CD box set with four bonus tracks and 14 art prints is available from:
http://undorecords.bigcartel.com/product/limited-cdun62-marsheaux-ath-lon-2cd-box

http://www.marsheaux.com/

https://www.facebook.com/marsheaux/

https://twitter.com/marsheaux

http://www.undorecords.com/

https://www.instagram.com/marsheaux/


Text by Monika Izabela Goss
13th June 2016

KID MOXIE Dirty Air

Elena Charbila-by-Jamie Clarke02‘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.


‘Dirty Air’ is available as a download single

http://www.facebook.com/kidmoxie

https://twitter.com/KIDMOXIEMUSIC


Text by Chi Ming Lai
Photos by Jamie Clarke
11th June 2016

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