Tag: Marsheaux (Page 9 of 11)

A Beginner’s Guide To UNDO RECORDS

8 September 2014 /

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)

Greek Tribute to DMNick 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

http://www.facebook.com/undofotonovela

MESH Crash (2006)

MESHwecollide62005’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’.

From the CD album ‘We Collide’ – KUCD004

http://www.mesh.co.uk/

NIKONN Sunday (2006)

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

https://www.facebook.com/undonikonn

ESTE Ready For Love (2007)

Undo LM.End_1While ‘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

https://www.facebook.com/maria.korinthiou.official.Fan.Page

MIKRO Kalinihta (2007)

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.

From the CD album ‘Restart’ – CDUN07

http://www.mikro.gr

CLIENT Zerox Machine (2008)

CLIENT Heartland undoBy 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.

From the CD album ‘Heartland’ – CDUN09

http://www.clientlondon.com/

KID MOXIE Selector – Fotonovela remix (2009)

KKidMoxie_undoKID 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’.

From the CD album ‘Selector’ – CDUN11

http://www.facebook.com/kidmoxie

RED BLOODED WOMEN You Made Your Bed (2009)

‘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

https://myspace.com/redbloodedwomenmusic

MARSHEAUX Radial Emotion (2009)

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!

From the CD album ‘Lumineux Noir’ – CDUN16

https://www.facebook.com/marsheaux

ROCKETS IN A COMA You In Me (2009)

ROCKETS IN A COMA CDROCKETS 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.

From the CD album ‘Square Strawberries’ – CDUN17

http://www.undorecords.com/RocketsInAComa.html

TAREQ Mosquito (2010)

IMG_127Greco 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.

From the CD album ‘Cocoon’ – CDUN24

http://www.facebook.com/Tareqdisco

OMD Green (2010)

‘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

http://www.omd-messages.co.uk

ROLLA SCAPE featuring MARSHEAUX Heaven Is Real (2011)

Rolla_Scape_st__CoverMARSHEAUX 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.

From the CD album ‘Rolla Scape’ CDUN28

https://www.facebook.com/pages/Rollascape/148634268497058

MIRRORS Somewhere Strange (2011)

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.

From the 2CD album ‘Lights & Offerings’ – CDUN31

http://mirrorsofficial.bandcamp.com/

LIEBE Flamingo Nights (2012)

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.

From the CD album ‘Somewhere In Time’ – CDUN34

http://www.liebe.gr

VIENNA Rendez-Vous Sur La Mer Noire (2013)

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

http://www.undorecords.com/ViennaComilationBox.html

FOTONOVELA feat SARAH BLACKWOOD Justice (2013)

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’.

From the CD album ‘A Ton Of Love’ – CDUN46

http://www.eblackwood.com/

SAD DISCO Beat (2014)

Sad_Disco_Lp_Cover“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.

From the vinyl LP ‘Sad Disco’ – LPUN47

https://www.facebook.com/saddisco.official

For further information on Undo Records and their online shop, please visit http://www.undorecords.com

https://www.facebook.com/undorecords/

https://twitter.com/undorecords

https://www.instagram.com/undorecords/

Text by Chi Ming Lai
8th September 2014

MARK REEDER Collaborator

19 May 2014 /

Mark Reeder has carved out an impressive reputation for his catalogue of fine remixes since the success of his electronic dance music record label MFS which launched the careers of internationally renowned DJs such as Paul Van Dyk and Cosmic Baby.

He had moved to Berlin in 1978 having become fascinated by the artistic diversity of the city and was Factory Records’ representative in Germany between 1978 to 1982. He also worked with bands such MALARIA! and DIE TOTEN HOSEN while simultaneously being part of cult duo DIE UNBEKANNTEN who later morphed into SHARK VEGAS and toured Europe with NEW ORDER.

His passionate attention to detail gained many notable admirers within the music industry. So when Reeder focused on remixing at the start of the new century with his studio partner Micha Adam, he was given the opportunity to work with major artists such as John Foxx, PET SHOP BOYS, DEPECHE MODE and BLANK & JONES.

As the man credited for introducing NEW ORDER to electronically propelled dance music, when Mark Reeder spoke to ELECTRICITYCLUB.CO.UK in 2011, he said: “I’m old school. I like to still be able to hear the song, but give it my own signature and atmosphere, while at the same time use as many of the original elements as possible”.

Reeder’s visceral approach provided a developmental enhancement to the music while retaining an all important degree of familiarity and accessibility. A number of these results ended up on his lush surround sound compilation package ‘Five Point One’ in 2011.To follow-up ‘Five Point One’, the revived Factory Benelux label have issued ‘Collaborator’, a new compendium of remixes and collaborations by the still Berlin-based Reeder.

A significant number of tracks feature his long-time friend Bernard Sumner who appears vocally in four guises with the songs reworked in a classic electronic style not really heard since NEW ORDER’s ‘Here To Stay’ in 2002 and ELECTRONIC with Johnny Marr. First, there are Reeder’s versions of BAD LIEUTENANT singles ‘Sink Or Swim’ and ‘Twist of Fate’ which are without doubt, more enjoyable that the guitar driven originals.

Meanwhile, the wonderful ‘Miracle Cure’ helmed by dance merchants BLANK & JONES could easily be mistaken for a NEW ORDER dance track in its Reeder interpretation. Best of all though is ‘She Wants’, Sumner’s most recent collaboration with WESTBAM – given an Old School Remix by Reeder, it does what its says on the tin.

However, the previously unreleased demo of ‘Crystal’ which Sumner first recorded with Reeder and Corvin Dalek is perhaps less essential but welcome, giving as it does, a very different Deep House view of the song from its ‘Get Ready’ rock out. But how marvellous it is to hear Sumner being given a synth driven backbone again? Now while his guitar has always been an essential ingredient to NEW ORDER, his tracks on ‘Collaborator’ are evidence if any that should the Manchester brand ever record new material again, not only should the direction be electronic but also, Mark Reeder should be behind the mixing desk as well.

‘Collaborator’ also highlights Reeder’s love of female fronted synthpop. Reeder’s So Close Remix of MARSHEAUX’s ‘So Far’ and a smooth Euro styled Sweet & Sticky rework of MARNIE’s ‘Sugarland’ display an affinity with ELECTRICITYCLUB.CO.UK’s own tastes.

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But things are then taken to the next level with his remix of QUEEN OF HEARTS’ ‘Neon’; ELECTRICITYCLUB.CO.UK is pleased to say it assisted in bringing the two parties together and the resultant Electrically Excited Remix is a rich slice of euphoric electro schaffel that has been well worth the creative intervention.

The remaining collaborations are an interestingly eclectic bunch it has to be said. How many compilations can claim to bring together post-punk veteran Anne Clark, DURAN DURAN bassist John Taylor AND artist Sam Taylor-Wood?

Clark cuts her stern poetry on ‘The Hardest Heart’, a track originally reconfigured for Reeder’s ‘Reordered’ project with BLANK & JONES while Sam Taylor-Wood teams up with old pals PET SHOP BOYS for an extended retro restyling of THE PASSIONS’ I’m In Love With A German Film Star’.

John Taylor’s ‘C’est Tout Est Noir’ however is more intriguing being a recent offering with KOISHII & HUSH and the first lead vocal from the David Beckham of New Romantic since his solo single ‘I Do What I Do’ from the ‘9 ½ Weeks’ soundtrack in 1986. Reeder’s Black Night Remix improves on the original, bringing with it a body of stark musicality as well as bringing out the moodier aspects of the song.

The conclusion of the album completes the circle of Reeder’s musical journey and goes back to DIE UNBEKANNTEN’s ‘Radio War’ from 1982 and SHARK VEGAS’ 1986 Factory Records release ‘You Hurt Me’. This pair of archive recordings actually shows how Reeder’s own musical journey has to an extent, mirrored that of Sumner’s.

‘Radio War’ is more like JOY DIVISION, all doom laden, bass heavy and claustrophobic while ‘You Hurt Me’ produced by Bernard Sumner is characterised by the sort of New York disco sequence programming that made NEW ORDER famous. Both are interesting curios in the story of how Reeder has arrived here today.

In the excellent interview by John Cooper featured within the booklet liner notes, Reeder says: “I always want my remixes to be as recognisable as their original song. This is always my concern when making a remix”.

This CD only package (please take note record labels – vinyl is NOT everything!) is a fine catalogue of MARK REEDER’s career to date covering key aspects of classic and contemporary electronic pop. ‘Collaborator’ proves that the modern day club remix doesn’t have to be death by four-to-the-floor and can be a song oriented art form in itself.

With thanks to James Nice at Factory Benelux

‘Collaborator’ is available now on CD only via Factory Benelux from Amazon and other retail outlets

http://factorybenelux.com/mark_reeder_collaborator_fbn111cd.html

http://www.5point1.org/

https://www.facebook.com/markreedermusic

Text by Chi Ming Lai
Album Cover Photo by Katja Ruge
19th May 2014

MARSHEAUX Discuss Their Odyssey

11 February 2014 /

Odysseus was the legendary Greek king who took 10 eventful years to return home after the Trojan War in which he used his infamous Trojan Horse ploy to capture the city of Troy.

Appropriately, MARSHEAUX’s brand new compilation ‘Odyssey’ traces the journey of the Athens based synth maidens from 2004 to the present day through their albums ‘E-Bay Queen’, ‘Peek-A-Boo’ and ‘Lumineux Noir’ to last year’s ‘Inhale’. Released on the prestigious Les Disques Du Crépuscule label and compiled by former employee James Nice, ‘Odyssey’ also includes a previously unissued song ‘Full Attack’.

The collection acts as a coherent listening experience showcasing their “wispy melancholic charm…” as was once described by OMD’s Andy McCluskey. The lush packaging also presents MARSHEAUX in a more pictorial manner than previously.

Meanwhile the tracklisting gives an opportunity for the curious but cautious synthpop enthusiast to sample the duo in one thoughtfully menued sitting. While several key tracks such as ‘Radial Emotion’ and ‘Breakthrough’ are absent, what ‘Odyssey’ does do, like any good compilation, is to provoke curiosity and further investigation.

Originally from Thessaloniki, Marianthi Melitsi and Sophie Sarigiannidou moved to Athens and came together to further their appreciation of electronic pop music. Their irresistible mix of classic pop hooks and digi-analogue synthesis has seen MARSHEAUX stretch their sophisticated appeal across the world. They have played prestigious support slots for OMD, CLIENT and even LA rockers 30 SECONDS TO MARS… the latter’s frontman Jared Leto is a big fan of the girls!

As well as recording original material, MARSHEAUX have done numerous cover versions and remixed for other artists from DEPECHE MODE, THE HUMAN LEAGUE and OMD, to Moby, Katy Perry, Mylène Farmer and Andy Bell. In a busy few months for Sophie and Marianthi, there has also been two new MARSHEAUX vocalled tracks ‘Big Black Hole’ and ‘Close To Me’ included on their producers FOTONOVELA’s second album ‘A Ton Of Love’.

With dreams of a disco, the girls kindly spoke about their own 10 year ‘Odyssey’…

How did Les Disques Du Crépuscule come to be involved in releasing a MARSHEAUX ‘best of’?

James Nice from Les Disques Du Crépuscule contacted Undo Records in Greece, because he was interested in releasing some of our songs in a compilation.

We felt really honoured, because Les Disques Du Crépuscule is a very classy label that we really admire. They had artists like PAUL HAIG, PALE FOUNTAINS, Alan Rankine from ASSOCIATES, TUXEDOMOON and they also had just released MARNIE’s debut album. We are really excited with the idea of being on the roster.

Apart from ‘Popcorn’, ‘Odyssey’ stays largely clear of your cover versions?

Maybe it’s better this way. We always loved doing cover versions of other artists, but we never thought of having a career out of it. If we had chosen the tracklist, then maybe we would have picked WHEN IN ROME’s ‘The Promise’ instead of ‘Popcorn’. On the other hand ‘Popcorn’ is our first ever recorded track and this is enough to make it into ‘Odyssey’.


Your first album ‘E-Bay Queen’ was in 2004, how do you look back on the making of it?

When we first started MARSHEAUX, we always thought that we would sound like ERASURE or YAZOO melodically, we would be romantic like OMD, have the aesthetics like PET SHOP BOYS and be clever like SPARKS.

‘E-Bay Queen’ was literally made in 7 days, all of it… recordings, designs, marketing!

We just had started to get used to our 2-3 instruments we had just bought… LFOs, filters, oscillators. It was a whole new world for us. We still remember the first time we managed to trigger correctly the TR606 with the SH101’s arpegiator and then the TR707 with our Juno.

Of course we’d written 11-12 tracks for the album but the demos were really bad, even as demos! We had the voice melody and when the body of the tracks was ready, with the help of the guys of FOTONOVELA we finished the album in seven days. Now our record company wants to release all that demo stuff, but we are too embarrassed.

‘Computer Love’ is still a part of your live set. Why does that one still hold so much affection after 10 years?

We adore this track. It’s mood fixing. It’s so naive that you get instantly hooked by it. We love the female voice through vocoder. This is our answer to KRAFTWERK and still a great track till today.

By 2007 with ‘Peek-A-Boo’, you had made a big leap artistically. What happened to make your sound to become more fully realised?

All the money we earned from ‘E-Bay Queen’ we put it on ‘Peek-A-Boo’. We wanted it to sound completely different. We knew that creating our second album would be the hardest thing.

We decided, not to have many live appearances, not too many pictures taken and not to appear in clips. Instead we tried to make everything artier and give all our energy to the music and the artwork.

We bought new instruments and we spent all our time to learn how they worked. We made the album in one year and a half, not in seven days like the previous one. We had tons of appointments with our graphic designers ’til we came up with the purple paper bag and the ghost design. The entire project was under a plan. It finally worked once ‘Peek-A-Boo’ came out in the international market through Out Of Line. Each one who bought the CD wore the bag on the head, took pictures and sent them to us. We gathered roughly 3,500 pictures. The ‘Peek-A-Boo’ bag was pictured from Lapland with skis, to Johan Cruyff’s head in the Barcelona museum.


How did you write ‘Dream Of A Disco’… did you intentionally set out to base it around ‘Space Age Love Song’?

Of course not, it just happened in the studio while we were trying to make some mash-ups for a DJ set, we got hooked with it. There was a drum pattern, the theme of ‘Space Age Love Song’ and on it, we sang whatever.

‘Dream Of A Disco’ was ready after a week. The feedback was great. No-one wrote that we stole a song in order to make another one.

It’s great to see ‘Wait No More’ on ‘Odyssey’, I think it’s one of your most under rated songs…

We agree 100%. We wanted it as a single but Out Of Line was totally against it and pushed ‘What A Lovely Surprise’ on the radio instead. If we had to compile a MARSHEAUX ‘Best Of…’, ‘Wait No More’ would be in it. In general the ‘Peek-A-Boo’ sessions were melancholic and romantic, a thing you won’t find in the other of our albums.

Of course, many see ‘Lumineux Noir’ as your crowning achievement? 

The reviews for ‘Lumineux Noir’ were excellent. We honestly didn’t expect it, as the album was quite darker than the previous ones without losing its pop style. The success of ‘Peek-A-Boo’ took us to the next level. We gained confidence, no insecurities for anything. When we sent ‘Lumineux Noir’ to Undo and Out Of Line, we told them that it’s finished and that’s it. We didn’t change anything, unlike other times.


‘Sorrow’ is possibly one of the best songs DEPECHE MODE never recorded…

‘Sorrow’ and actually the entire album reflects the emotional state we were at that time. ‘Sorrow’ was written on a really cloudy and moody day after we both had a really bad week.

We actually made fun of the situation in the studio by trying to make a soundtrack for the “drama”. When we finished it, we thought that this track would be the perfect ending for ‘Lumineux Noir’.

Back in the other days, there was no way we would have written a song like that. But being in on electro / goth label, playing lives in Goths festivals and meeting people from the underground electro / EBM scene made it easier for us to add a song like that to our album. We don’t think that DEPECHE MODE would record a track like that now. Maybe it would have been a nice B-side to ‘Shake The Disease’ or ‘It’s Called A Heart’… that period just before ‘Black Celebration’ and after ‘Some Great Reward’.

MARSHEAUX have often been compared with being a female DM and now in the US, there’s FEATHERS who have been called a female DEPECHE MODE too and they have a Greek girl fronting them. What do you think of their music?

We don’t think we are the female DM although it’s very flattering. Our sound is more like Vince Clarke’s. Greece is IN the last few years. Every day it is in the news, not for a good reason of course, but you can’t ignore her.

Also before FEATHERS, who we hope get the acknowledgment they deserve, there was Marina Diamandis or even Michael Angelakos from PASSION PIT… there is always a Greek somewhere. FEATHERS are really great, we like them a lot but the most female DEPECHE MODE track we heard though the last years was the 2013 Norway’s Eurovision entry by MARGARET BERGER; it was like an outtake song from ‘Songs Of Faith & Devotion’!

‘Inhale’ was a long time coming and in hindsight, seems less self-assured. How was the environment in Athens to work in and do you think it subconsciously affected the songs?

We tried hard to leave the problems of our country out of the studio, it was something really difficult because what is happening around affects us inevitably. Some of our lyrics like ‘End Is A New Start’ refer to it, but in no way it did affect our work. ‘Inhale’ was ready a year and a half before its release but it late came out late due to various problems that occurred. That’s why we released the ‘E-Bay Queen Is Dead’ compilation ahead of it. This turned out to be a positive move, because it gave ‘Inhale’ the chance to go global through various labels.

There some great songs on ‘Inhale’, ‘Can You Stop Me?’ and ‘Alone’ in particular which are on ‘Odyssey’. What are your favourites on ‘Inhale’?

Originally ‘Odyssey’ was never meant to have any ‘Inhale’ tracks. Later on, we thought it was better this way because someone could have a better picture of MARSHEAUX. ‘To The End’ and ‘August Day’ are our favourites, especially ‘August Day’.

The specially recorded new song ‘Full Attack’, where did that originate from and what’s it about?

We made ‘Full Attack’ especially for ‘Odyssey’, because James Nice of Les Disques Du Crépuscule asked us for a track that will be only on it. We didn’t want to use a rejected track from ‘Inhale’ (we have more than the ones on ‘E-Bay Queen Is Dead’…) so we started working on an idea we had and ‘Full Attack’ was ready in one night. ‘Full Attack’ is about people that use and manipulate others, and keep doing it till there is nothing left.

Are you generally happy with James Nice’s choice of tracklisting?

In general yes. At the beginning we thought it was strange, that there was a MARSHEAUX ‘Best Of’ without ‘Hanging On’ and ‘Breakthrough’. But as soon as he explained his thoughts, we understood. We think that James is the ideal person to collaborate. He is a music man and not a businessman. This is the problem today. Contrary to James, the companies see the artist as merchandise only. He wants his artist to be happy first, and then does the marketing.

ELECTRICITYCLUB.CO.UK thinks it’s a shame ‘Radial Emotion’ is not featured. Are there any songs you would have liked to have been on ‘Odyssey’ that have missed inclusion?

This has also a positive side. It means we have a lot of great songs that didn’t make it to the compilation. We would have definitely put ‘Hanging On’ and ‘Breakthrough’ on as we said but also ‘So Far’, ‘Radial Emotion’ and ‘August Day’.

What do you think 2013 has been like for electronic music in general, what have you liked in particular?

We really liked CUT COPY’s new album, ‘English Electric’ by OMD was a pleasant surprise, AZURE BLUE’s second album was great and ‘Paracosm’ from WASHED OUT was our soundtrack of last summer. We must not forget CHVRCHES’ s debut of course, which had not even a mediocre song. But there were a lot of great tracks though with not many great albums.

Your collaboration on FOTONOVELA’s ‘A Ton Of Love’ album called ‘Close To Me’ is quite different to what MARSHEAUX have done before. Is that a sign of a future new direction?

The boys wanted SANDRA to sing the track but her management never replied to the request. We believe that if SANDRA sang ‘Close To Me’, it would have been a great hit. FOTONOVELA consider us a “sure thing” whenever they need something… demos etc, we are always there! *laughs*

Initially we thought that because they had a lot of guest artists, we wouldn’t collaborate. But at the last moment the track they did with JAY JAY JOHANSON didn’t make it to the LP and LACQUER didn’t catch the dead line, so there was this gap of two songs. For sure ‘Close To Me’ is not a sign for MARSHEAUX’s future.

What are MARSHEAUX’s future plans?

We are re-recording the whole of ‘A Broken Frame’ by DEPECHE MODE in order to release it for Record Store day 2014 on vinyl. This morning we finished ‘The Sun & The Rainfall’ and it sounds amazing. In September 2014, we are going to release a new edition of ‘Inhale’ called ‘Exhale’, with all the album tracks produced by different producers… one producer per track.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to MARSHEAUX

Special thanks also to James Nice and Undo Records

‘Odyssey’ is released by Les Disques Du Crépuscule on CD in a six panel digipack with a colour booklet

http://marsheaux.com

http://marsheaux.wordpress.com/

https://www.facebook.com/marsheaux

http://lesdisquesducrepuscule.com/odyssey_twi1151cd.html

Text and Interview by Chi Ming Lai
11th February 2014

KID MOXIE Interview

19 December 2013 /

KID MOXIE is the musical moniker of Elena Charbila, the Greek born bass playing singer and actress based in Los Angeles.

Her 2007 debut EP ‘Human Stereo’ featured the atmospherically Gallic ‘La Romance D’Hiver’ which appeared on the soundtrack of the TV series ‘The L Word’. A full length album ‘Selector’ was released by Undo Records in 2009. Continuing her association with Undo, she guested on NIKONN’s album ‘Instamatic’ in 2011. On it, her contributions on ‘The Sea’ and ‘Moby Is Around’ provided the most perfect of Aegean chill out tunes while ‘Nikonn Vals’ provided a dreamy Hellenic take on GOLDFRAPP’s ‘Oompa Radar’

This year, she recorded possibly her best song yet as KID MOXIE with the beautiful transience of ‘The Bailor’; the song has become a favourite of DJs like Rusty Egan. Meanwhile, a Wayfarer remix was recently commissioned in aid of the David Lynch Foundation.

The second KID MOXIE album is slated for 2014 and is set to feature a collaboration with renowned film composer Angelo Badalamenti via a new version of ‘Mysteries Of Love’ which he co-wrote with David Lynch and originally recorded with JULEE CRUISE. Meanwhile, her marvellous collaboration with FOTONOVELA called ‘Freeze Frame’ has just been released on their new album ‘A Ton Of Love’.

Keeping herself busy with a variety of musical and acting projects, Elena Charbila kindly took time out to speak to ELECTRICITYCLUB.CO.UK about her varied career so far…

The KID MOXIE project has developed quite considerably since the ‘Human Stereo’ debut EP and your first album ‘Selector’. How have your found your musical journey so far?

I feel that making albums is much like keeping a very personal diary of your life. The time that has passed since 2007 has changed me and that gets reflected in the sounds I’m inspired to create. If I were going to explain in terms of genre crossing, the music I was making back then was closer to electro pop/gutter pop, whereas now it’s more cinematic pop.

Who or what have been your main influences?

Caves with stalactites and stalagmites. I have always liked the way they make me feel.

MARSHEAUX’s remix of ‘Medium Pleasure’ was the track that many came to know your work. How does it feel to have your work reinterpreted by others, especially when the resultant consensus sometimes judges the rework to be better?

It’s very refreshing to have my stuff remixed by musicians whose taste I trust. MARSHEAUX are so talented and I might even agree that they made the song sound better than the original!

Working with NIKONN on his 2012 ‘Instamatic’ album appeared to have pointed you to a more breathy continental vocal style which influenced the sound of ‘The Bailor’?

I am not sure if there was a direct influence between NIKONN’s album and ‘The Bailor’ but I tend to believe that everything is interconnected so there is a chance that this might be true. NIKONN’s album is definitely a very beautiful and ethereal musical journey, which really agrees with me aesthetically.

Where did the idea for ‘The Bailor’ come from and how did it take shape in the studio?

My good friend who I co-wrote the song with, Seth Olansky, came to me with that title and I found it to be pretty ambiguous and therefore, inspiring. The definition of a bailor is “someone who gives something to someone for safe keeping”. That idea sparked much of the lyrics and the melody that followed. Then Dan Hoal (producer for most of the KID MOXIE stuff) added his beautifully scratchy baritone vocals to the track and when they were layered underneath mine, they created a really nice sonic sandwich.

A Wayfarer remix of ‘The Bailor’ has been released in aid of the David Lynch Foundation. How did you become involved with the organisation and what are its aims?

Apart from having been a hardcore David Lynch fan since I was a teen, I am also a great fan of the causes of his Foundation, which are mainly to help underprivileged populations across the world by raising awareness towards their issues and implementing Transcendental Meditation, along with other methods in order to heal traumatic stress. The David Lynch Foundation has accumulated a great roster of artists (including Moby, Dave Stewart, Iggy Pop, Katy Perry etc) that help raise awareness through performance and music creation, whose proceeds benefit the DLF’s charities. I feel fortunate to be part of the DLF family.

You have a further connection with David Lynch in that you’ve recorded a version of ‘Mysteries Of Love’ from ‘Blue Velvet’ with none other than Angelo Baladamenti himself?

Angelo Badalamenti apart from being one of the most innovative film composers of all times is also one of the most generous and gracious people I have ever met. I am truly grateful that he trusted me with his newly recorded composition of ‘Mysteries Of Love’. The lyrics were written by David Lynch himself.

The more recent KID MOXIE material including ‘Freeze Frame’ for FOTONOVELA on their album ‘A Ton of Love’ has a much more widescreen, atmospheric template than your previous work. How will your new album differ from ‘Selector’ and does it have a title yet?

There is no official title for the new record yet but it will be out next spring. It is a very different sound and atmosphere from ‘Selector’ which was more playful and girlie. The new album is a more cinematic approach to pop.

‘Selector’ was released on Undo Records and you are very much part of the extended Undo electro family; they have a reputation for innovative packaging. Have you decided how you will release your next album and how the artwork will reflect the music?

The artwork will definitely have to reflect the essence of the album. There is nothing set yet, but I am talking to a very talented UK photographer whose aesthetic really matches the music in the album.

Do you see yourself as a musician, actress or just an all round artist? Do you find it difficult to be taken seriously with such a varied portfolio of abilities?

Both acting and music come from the same need, the need to express myself. With music, I have a greater freedom cause I get to write, direct and perform exactly what I want, the way I want to perform it. I feel that as long as you love and respect the work you do, being taken seriously should be a natural consequence of that.

But music isn’t that straightforward to earn a living from these days, certainly compared with other artistic professions, not that it’s easy anyway! How do you keep yourself motivated?

My experience has been that if you create something of quality, and you believe in it enough, it will (sooner or later!) earn you a living. Loving what I do is the motivation itself.

You recently appeared in a Michael Bublé video. How did that come about and what was that like?

I flew to Canada to shoot three videos with Michael Bublé as part of his band. His production team was looking for a (real) female bass player to support him and after seeing my videos, they got in touch with me through my agent and a few days later, we were shooting in Vancouver. Buble was such a sweet and down to earth kind of guy and made every one feel like we were a little family.

You’ve also worked with Al Pacino in the film ‘Wilde Salome’ … is there anyone else you would like to work with?

There are so many people I would love to work with still. I would be thrilled to collaborate with musicians like BAT FOR LASHES, ZOLA JESUS, TRENTEMØLLER and so many more. As far as acting, I do love comedy so much so I’m looking forward to getting more parts that make room for a lot of silliness to take place.

What are your future plans, either as yourself or KID MOXIE?

I am currently putting the finishing touches on my album, to be released next year. I will also be acting in a movie in January that stars Malcolm McDowell; it’s called ‘Bereave’. I am also involved in making some music for that film, and that’s something I am very excited about.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Elena Charbila

‘The Bailor’ is available as a download single

‘Selector’ is available as a download album via Amazon and iTunes

http://www.facebook.com/kidmoxie

http://www.reverbnation.com/kidmoxie

http://soundcloud.com/kidmoxie

http://www.davidlynchfoundation.org.uk/

Text and Interview by Chi Ming Lai
19th December 2013

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2013

16 December 2013 /

In one of the most productive years ever for electronic pop music, it has been extremely difficult to whittle down the list to 30 songs.

The standard has been extremely high and songs which would have made the listing in previous years have been left off. This has meant the controversial omission of DEPECHE MODE. Despite being as popular as ever, grossing over $99 million during the ‘Delta Machine’ tour, once a shortlist for 2013 was drawn, the competition was so stiff that nothing from the album even scraped in!

Yes, 2013 has been that good and wonderful songs by the likes of KELLI ALI, ELEVEN:ELEVEN, GAZELLE TWIN, GHOST CAPSULES, GOLDFRAPP, HANNAH PEEL, IAMX, KOVAK, MOBY, NIGHT ENGINE, NINE INCH NAILS, SAY LOU LOU, and SOFT METALS have just missed inclusion too!

So the songs on this alphabetical list have been released in physical formats, or digitally as purchasable or free downloads during the calendar year with a limit of one song per artist moniker.

ADULT. Idle (Second Thoughts)

The new ADULT. album ‘The Way Things Fall’ was fittingly described by one observer as “a snuff film version of Speak & Spell”. The fears of relationships and the outside world have very much fuelled the dystopian demeanour of ADULT. While still retaining their distinctive edge, their mutant love songs have a magnetic charm. This was particularly evident on the fabulous single ‘Idle (Second Thoughts)’, a vibrant electro hybrid of GINA X PERFORMANCE and SIOUXSIE & THE BANSHEES which showcased a strange blend of menace and melody.

Available on the album ‘The Way Things Fall’ via Ghostly International

http://adultperiod.com/

ANALOG ANGEL We Won’t Walk Away

Moving away from the industrial battleground in which they made their name, ANALOG ANGEL began the year with the enjoyably immediate ‘We Won’t Walk Away’, a laudable tribute to OMD’s classic ‘Organisation’ era. Complete with primary chord structures, one-fingered melodies and motorik rhythm programming, there was even a hint of the dulcet tones of Andy McCluskey in John Brown’s vocal. But just one thing though… Paul Humphreys wants his Prophet 5 back 😉

Available on the download EP ‘Pride’ via Carbon 12 Records

http://www.analog-angel.com/

KARL BARTOS Without A Trace Of Emotion

‘Without A Trace Of Emotion’ saw Karl Bartos conversing with his showroom dummy Herr Karl and confronting his demons as an ex-member of the world’s most iconic electronic group. The most straightforward pop song on the ‘Off The Record’ album, its autobiographical resignation was not unlike ‘Life’ from ‘Communication’. But whereas his former colleague Wolfgang Flür vented his spleen in book form with ‘I Was A Robot’, Bartos took a more ironic musical approach with the line “I wish I could remix my life to another beat”, a wry reference to ‘The Mix’ project which drove him to madness and out of Kling Klang!

Available on the album ‘Off The Record’ via Bureau B

http://www.karlbartos.com/

BEF feat DAVID J ROCH Same Love

The concept of BEF’s ‘Music Of Quality & Distinction Vol3 – Dark’ is dark interpretations of perceivably upbeat songs using a variety of guest vocalists. One of the beauties of this type of project is how seemingly incongruous elements are fused together for a blissful whole. Here, melodramatic Sheffield singer/songwriter David J Roch tackles Bill Withers’ ‘Same Love’ via Martyn Ware’s wonderful arrangement blending a neo-acapella intro into a meaty electro-disco tune with spacey whistles and haunting invader games like Giorgio Moroder producing SPACE’s ‘Magic Fly’.

Available on the album ‘Music of Quality & Distinction Vol3 – Dark’ via Wall Of Sound

http://www.britishelectricfoundation.com

MARGARET BERGER I Feed You My Love

Co-written by Swedish electro songstress Karin Park, Norway’s Eurovision Song Contest 2013 entry came fourth. ‘I Feed You My Love’ was like Robyn and Kelly Clarkson fronting ‘Songs Of Faith & Devotion’ era DEPECHE MODE. In fact, its performer Margaret Berger came second in the 2004 series of Norwegian Idol so the description was quite apt. The on-paper incongruous outcome was leftfield by Eurovision standards but perhaps not entirely shockingly, it got nul points from the United Kingdom; it summed up mainstream tastes in the UK and the country’s general Euro scepticism if nothing else!

Available as a download single via Macho Records

http://www.facebook.com/pages/Margaret-Berger/101820056564427

CHVRCHES The Mother We Share

The saviours of synthpop had an amazing year with sold out club shows and five dates supporting DEPECHE MODE in Europe. CHVRCHES‘ most accessible track ‘The Mother We Share’ was synthpop perfection with the concept of Taylor Swift gone electro having uprooted to Berlin. It deservedly scooped Popjustice’s Twenty Quid Music Prize for best UK single. Despite its wonderfully catchy chorus, it was not wholly bubblegum with its plethora of futuristic sounds and strange noises! Lauren Mayberry, Iain Cook and Martin Doherty delivered on their promise with an impressive debut album ‘The Bones Of What You Believe’, save the two incongruous indie synth numbers sung by Doherty!

Available on the album ‘The Bones Of What You Believe’ via Virgin Records

http://www.chvrch.es/

ELECTRONIC CIRCUS Roundabout

ELECTRONIC CIRCUS are led by Chris Payne, the keyboard and viola virtuoso who was a member of Gary Numan’s band between 1979 to 89 and featured prominently on the Top10 single ‘Complex’. He notably co-wrote ‘Fade To Grey’ which became a huge international hit for VISAGE. With his adopted home surroundings very much the backbone of ‘Roundabout’, the track itself possessed a sexy and authentic Gallic charm, courtesy of Chris’ wife Dominique. The exquisite, almost naïve vocals over the most incessant synth riff either had listeners dancing with delight or irritated to the point of submission… the seemingly banal words were actually a very clever metaphor for midlife!

Available as a download single via Coverdrive Records

http://www.electronic-circus.com

FEATHERS Land Of The Innocent

It had to happen and the world found its female DEPECHE MODE! Led by vocalist / songwriter / programmer Anastasia Dimou, the sound was probably more like post-apocalyptic BANGLES or Belinda Carlisle with gothic overtones in hindsight. The first single ‘Land Of The Innocent’ was a wondrous epic based around the arpeggio of ‘Ice Machine’ and driven by a hard incessant beat. Possessing an industrial gloom with an enlightening pop sensibility, it was what LADYTRON would have sounded like if they had formed in a Texan desert rather than spectre of Merseyside!!

Available on the album ‘If All Now Here’ via http://feathers.bandcamp.com/

http://www.feathers.fm/

FOTONOVELA feat MIRRORS Our Sorrow

Not content with producing MARSHEAUX and collaborating with OMD on ‘Helen Of Troy’, Greek production duo FOTONOVELA unveiled a new sophomore opus which was more song based using a number of prominent international vocalists. One of the numbers ‘Our Sorrow’ featured the majestic voice of James New from the missing-in-action MIRRORS. The string synth laden ditty was in the vein of classic OMD and with the South Coast combo calling it a day in 2013, this was a fitting way to depart The Hall Of Mirrors.

Available on the album ‘A Ton Of Love’ via Undo Records

http://www.facebook.com/undofotonovela

http://www.facebook.com/theworldofmirrors

JOHN FOXX & JORI HULKKONEN Evangeline

John Foxx and Jori Hulkkonen had worked together previously but never before on a body of work with a conceptual theme. Their latest collaboration took on a grainier downtempo template and the lead track ‘Evangeline’was all the more beautiful for it. Full of depth, coupled with an anthemic chorus and vibrant exchange of character throughout, this rousing yet soothingly futuristic number was quite otherworldly. The title of the parent EP said it all…

Available on the EP ‘European Splendour’ via Sugarcane Records

http://www.metamatic.com/

http://www.jorihulkkonen.com

GIRL ONE & THE GREASE GUNS Jessica 6

Nobody really knows for sure who are GIRL ONE & THE GREASE GUNS but names like Sissy Space Echo, Warren Betamax, Charles Bronson Burner and Bruce LeeFax are commensurate with their manifesto “to thrive on causing confusion with a mixture of pure synth pop and more experimental electronic sounds”. ‘Jessica 6’ is a tribute to the cult Sci-Fi favourite ‘Logan’s Run’. The eerie post-punk cacophony laced with icy Yamaha string machine makes it the perfect belated choice for the soundtrack. Add in a frantic reverbed backbeat and it all comes over like THE PIPETTES fronting collaboration between JOY DIVISION and OMD.

Available as a download single via Squirrel Records

http://www.squirrelrecords.co.uk/girl-one-and-the-grease-guns/

GOLDFRAPP Thea

From a long player with distinctly orchestrated and acoustic overtones, ‘Thea’ was the most overtly electronic song on ‘Tales Of Us’. Alison Goldfrapp’s vocal soared angelically, surrounded by very subtle synthetic dance textures and layers of percussive craft. While the beat was mechanical, it didn’t sound out of place on the very organic parent album.

Available on the album ‘Tales Of Us’ via Mute Records

https://www.goldfrapp.com

KID MOXIE The Bailor

KID MOXIE is the musical vehicle of Los Angeles based Elena Charbila. Her first full length album ‘Selector’ was bolstered by a MARSHEAUX remix of its best song ‘Medium Pleasure’. Always sounding her best when adopting a breathy continental vocal style, Elena Charbila recorded possibly her best song yet as KID MOXIE with ‘The Bailor’, a dreamy and sexy tunes that glistened in the Aegean Sea. The Wayfarer remix of the song was also issued later in the year in aid of The David Lynch Foundation .

Available as a download single via Kid Moxie

http://www.facebook.com/kidmoxie

MARNIE The Hunter

LADYTRON’s Helen Marnie released her long awaited debut solo album ‘Crystal World’ in the summer. Recorded in Iceland, it suitably captured the island’s beautifully relaxed but volatile atmosphere. Its opening track ‘The Hunter’ was a tremendous calling card and the vibrant electropop single that LADYTRON never quite got round to releasing. Very pretty and delectably glacial, the tune was vocally and musically expansive like an Arctic escapist fantasy, melancholic but free of doom.

Available on the album ‘Crystal World’ via Les Disques Du Crespuscle

http://www.facebook.com/helen.marnie.official

MARSHEAUX August Day

MARSHEAUX’s fourth album ‘Inhale’ had been a long time coming. And it appeared as though the Greek financial crisis had loomed heavy over its making, resulting in moodier, midtempo numbers taking centre stage. ‘August Day’ though was a grower, developing on the maturer outlook apparent on the album’s concept, with a hint of CHVRCHES’ steadier paced output. Less immediate but overwhelmingly dreamy, it captured the senses after multiple listens.

Available on the album ‘Inhale’ via Undo Records

http://www.marsheaux.com

MESH The Way I Feel

MESH’s founders Mark Hockings and Richard Silverthorn know their audience so the lattice of danceable electro-rock continued on their best album yet ‘Automation Baby’. But the beautiful ‘The Way I Feel’ showed a more sensitive side with hints of Ennio Morricone. Shaped by acoustic guitar and string machine washes, the atmospheric maturity that MESH were now showcasing was a welcome surprise.

Available on the album ‘Automation Baby’ via Dependent

http://www.mesh.co.uk/

MONARCHY feat DITA VON TEESE Disintegration

MONARCHY’s ‘Disintegration’ featured the sexy burlesque queen Dita Von Teese on vocals. With its vampish disco crashing into elements of Giorgio Moroder, it sounded like the SCISSOR SISTERS gone right and even threw in a few VISAGE frequency warbles! ‘Disintegration’ was a rather excellent, stomping floor filler of the first degree with some hook laden energy and cooing feline appeal.

Available as a download single via Hacan Sound

http://www.monarchysound.com/

http://www.dita.net/

GIORGIO MORODER Racer

Giorgio Moroder is now 73 years old but is as vital as ever having produced the dance track of the year! Commissioned by Google Chrome for their online game ‘Racer’, the piano line was like ULTRAVOX reworked for Studio 54 while the whirring synths and trancey elements made it come over like history of modern electronic dance music squashed into 4 minutes. But as these ideas were mostly borrowed from Da Maestro himself, it was now his time to grab it all back. Moroder easily rivalled any young hopeful with a set of double decks and a laptop.

Available as a free download single via Google Play

http://www.moroder.net/

ALISON MOYET Changeling

Alison Moyet made a return to the electronic experimentation that made her famous as one half of YAZOO on her new album ‘the minutes’. With contemporary synthesized backing over a powerful rhythm construction and stuttering guitar textures courtesy of new collaborator Guy Sigsworth, Moyet’s deep emotional vocal resonated on ‘Changeling’ with a confidence and energy that dispelled the public’s perception of her as just a jazz singer!

Available on the album ‘the minutes’ via Cooking Vinyl.

http://www.alisonmoyet.com

NIGHT CLUB Poisonous

NIGHT CLUB Love CaSUALTYPositively feline but dysfunctionally dark like Britney gone emo, NIGHT CLUB‘s cutely subversive ‘Poisonous’ based itself, like STEFY’s lost 2007 single ‘Chelsea’, around the riff of ‘Sweet Dreams (Are Made of This)’. This superb slice of catchy electronic pop from the LA combo of Emily Kavanaugh and Mark Brooks roused with a huge crossover potential while possessing a sinister edge.

Available on the download EP ‘Love Casualty’ via Gato Blanco

http://nightclubband.com

NOBLESSE OBLIGE Hotel California

NOBLESSE OBLIGE are French theatrical performer Valerie Renay and German producer Sebastian Lee Philipp who specialise in a brand of abstract Weimer cabaret tinged with a dose of electro Chanson. NOBLESSE OBLIGE’s lengthy funereal deadpan cover of THE EAGLES’ ‘Hotel California’ highlights the chilling subtext of the lyrics to its macabre conclusion! The synthesizer interpretation of the original song’s iconic twin guitar solo will either be seen as total genius or sacrilege!

Available on the album ‘Affair Of The Heart’ via Repo Records

http://www.noblesseoblige.co.uk/

GARY NUMAN Who Are You?

‘Who Are You?’ is one of those great uptempo anthemic songs in the vein of ‘Listen To My Voice’ from 2000’s ‘Pure’ that confirms when Gary Numan hits the target, he hits bulls-eye! Written for a film about a musician with schizophrenic personality, it fitted well with the parent album ‘Splinter’ and its ‘Songs From A Broken Mind’. The album wasn’t just one-dimensional riff monsters and the varied material was some of Numan’s best work for years.

Available on the album ‘Splinter (Songs From A Broken Mind)’ via Mortal Records / Cooking Vinyl

http://www.numan.co.uk

OMD Stay With Me

OMD-English-ElectricThe standard of ‘English Electric’ was so high that any one of its song based tracks could have made the list. But ‘Stay With Me’ is the album’s hidden gem. The first Paul Humphreys lead vocal for OMD since 1986’s ‘Forever Live & Die’, the song was originally demoed as ‘Idea 3’ and voiced by Andy McCluskey. Ever the master of melody and inspired by events around him, Humphreys reworked it into a more straightforward love song but added a beautiful cinematic resonance. It came over like ‘Love Theme From St Elmo’s Fire’ meets ‘Souvenir’ with subtle lashings of white noise!

Available on the album ‘English Electric’ via BMG

https://www.omd.uk.com/

PET SHOP BOYS Fluorescent

“Incandescent…”; yes the hypnotic ‘Fluorescent’ was basically a buzzy dancefloor makeover of ‘Fade To Grey’ with the chilling Polymoog string preset from VISAGE’s original remaining in the mix while waves of synth sirens attacked it like a Martian invasion. The parent album was ‘Electric’ by name and electric by nature, and easily the PET SHOP BOYS‘ best body of work since ‘Very’. It more than made up for 2012’s lame duck ‘Elysium’…

Available on the album ‘Electric’ via X2 / Kobalt Records

http://www.petshopboys.co.uk

QUEEN OF HEARTS United

A stomping electro disco number produced by Mark Reeder who previously has remixed John Foxx, DEPECHE MODE and PET SHOP BOYS, QUEEN OF HEARTS‘ cooing Bush-like howls and breathy euphoria are a total delight to the ears while the mighty cavernous sound provides the heat! Yet ‘United’ has ended up as the B-side of the less satisfactory ‘Secret’. However, if songs like this are being seen as outtakes, this is all a good sign for her debut album in 2014 which is eagerly awaited…

Available on the download EP ‘Secret’ via Night Moves

http://iamqueenofhearts.com/

REPUBLICA Christiana Obey (TENEK remix)

Originally, written by Saffron with noted producer Andy Gray, ‘Christiana Obey’ had been doing the airplay rounds in 2012 but finally secured a formal release to coincide with REPUBLICA’s touring comeback this year. With its suitably big chorus, Saffron was on good anthemic form while a meaty remix from TENEK enhanced the song even further and made it ready to go!

Available on the EP ‘Christiana Obey’ via Republica Music

http://www.republicamusic.co.uk/

POLLY SCATTERGOOD Wanderlust

Polly Scattergood made her debut in 2009 with a self-titled album released on the iconic Mute Records. With key influences such as Bjork and Kate Bush, it combined jubilant experimental pop with her innocent, affected vocals. From her second album ‘Arrows’, ‘Wanderlust’ realised her potential with a slice of deliciously wired avant pop in the GOLDFRAPP vein, although closer scrutiny revealed it to be more like electronic COCTEAU TWINS with that rousing air of fragility.

Available on the album ‘Arrows’ via Mute Artists

http://www.pollyscattergood.com/

SIN COS TAN Moonstruck

The Finnish duo of Juho Paalosmaa and Jori Hulkkonen swiftly followed up their acclaimed eponymous debut of 2012 with ‘Afterlife’. Hulkkonen said back in 2011 that it was being a fan of PET SHOP BOYS that inspired him to make music. ‘Moonstruck’ is a fine melancholic beat ballad in the Tennant/Lowe tradition where Paalosmaa’s emotive lost boy demeanour blends wonderfully with the sweeping drifts and building swathes of synth strings. It is also possibly the best song of its type that Neil and Chris never recorded.

Available on the album ‘Afterlife’ via Solina Records

http://sincostan.net/

VILE ELECTRODES Damaged Software

Like ‘Twin Peaks’ meets ORBITAL, ‘Damaged Software’ was an enticing piece of electro from Anais Neon and Martin Swan which affirmed their status as Britain’s premiere independent synth duo. With a tour supporting OMD in Germany where they encountered the likes of Karl Bartos and Wolfgang Flür backstage, their vile adventure of meeting former KRAFTWERK members continued when they shared the bill with Michael Rother at Elektrofest. Three years in the making, the parent album ‘The future through a lens’ was well worth the wait.

Available on the album ‘The future through a lens’ via https://vileelectrodes.bandcamp.com/album/the-future-through-a-lens

http://www.vileelectrodes.co.uk

WESTBAM feat RICHARD BUTLER You Need The Drugs

Techno DJ WESTBAM celebrated 30 years in the music business with an intriguing mature collection of songs under the title of ‘Götterstrasse’. While the theme of the album centred on the joy and euphoria of underground nightlife, the album’s magnificent launch single ‘You Need The Drugs’ was not actually a celebration of illicit substance use. Voiced brilliantly by THE PSYCHEDLIC FURS’ Richard Butler, WESTBAM himself said it was “the first explicit electronic appeal AGAINST the use of drugs with a clear message: drugs are a bore!”. From a brilliant album that also featured vocalists as diverse as Iggy Pop, Bernard Sumner, Brian Molko, Lil’ Wayne and Kanye West, ‘Götterstrasse’ was the surprise electronic release of the year.

Available on the album ‘Götterstrasse’ via Warner Music Germany

http://www.westbam.de/dt/en/

Text by Chi Ming Lai
16th December 2013

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