Tag: Mesh (Page 7 of 7)

MESH, DE/VISION + TORUL Live in London


Bristolian electro-rock duo MESH ended their successful European tour in style with a rousing show at the O2 Academy in London’s Islington district.

The affair was an intimate multi-media extravaganza based around their latest album, ‘Automation Baby’. An impressive collection of songs ranging from schaffel anthems to sensitive Morricone-esque ballads, ‘Automation Baby’ could well finally get MESH wider recognition in the UK.

The European alternative live circuit has been founder members Mark Hockings and Richard Silverthorn’s bread and butter since their first EP ‘Fragile’ in 1994.

Indeed, like Gary Numan fans who have switched their allegiances to JOHN FOXX & THE MATHS for their synthesizer fixes, so then disillusioned DEPECHE MODE followers may well drift over to MESH in the coming months as Messrs Gahan, Gore and Fletcher finally turn into that stadium blues band which they have been threatening to do for a while.

But opening the evening’s great support bill were TORUL, a promising trio hailing from Ljubljana in Slovenia. Towering singer Jan Jenko exuded a dark but soulful vocal range with a dynamic stage presence to match while the sonics varied from industrial rock to EBM and danceable synthpop not unlike another new trio, Sweden’s TITANS. Although their sound had an inherently doomy shade, their performance was exhilarating. There was an extra treat in a menacing rendition of TEARS FOR FEARS’ ‘Mad World’ to supplement the already enjoyable set. Definitely a band to look out for in the future… even a prolonged guitar solo at the end didn’t dampen the appreciation of those watching.

Meanwhile, Berlin’s DE/VISION have had a long standing kinship with MESH and the two acts have often shared the same bill over the years, much to satisfaction of their fanbases. Steffen Keth gyrating moves found favour tonight with the large female contingent in the audience while the whole crowd treated DE/VISION like joint headliners. Since their breakthrough somophore album ‘Unversed In Love’ in 1995, their industrialised paeans have maintained a cult following over the last two decades and certainly tonight, Keth and musical partner Thomas Adam (now augmented by a live drummer) showed no signs of waning in their enthusiasm.

The stage sprang into technological life as screens and projections set the scene for MESH’s arrival. In a novel approach to live presentation, each song was introduced by a computerised female voice. Thus “Automation Baby – track eight” ie ‘Adjust Your Set’ began proceedings with its mechanical rhythms loosened up by live drummer Sean Suleman.

The evening’s accompanying films very much enhanced the show with appropriate images such as monochrome footage of fan mania and celebrity culture for ‘Never Meet Your Heroes’ and wads of tenners for ‘You Want What’s Owed to You’. It may have been perhaps a bit obvious but the spectacle worked and aptly illustrated the theme of detached virtual relationships dominating ‘Automation Baby’.

MESH are known for their synthesized anthems and the first of those came with the superb ‘Crash’ from ‘We Collide’, the automotive metaphors very much in keeping with MESH’s regular lyrical gists on the conflict within the human condition.

The neo-rave of ‘Just Leave Us Alone’ was another tremendous highlight, the crowd pogo-ing with delight to the Eurodance flavour on offer. ‘How Long?’ and the ‘Automation Baby’ track itself also provided other cornerstones to the evening.

DEPECHE MODE comparisons are always inevitable with MESH; however, what they actually have in common with Basildon’s finest though is not so much the synth / guitar / industrial rhythm template but an ability to arouse passion and loyalty through their music.

And in ‘Taken for Granted’, MESH now have their own ‘Never Let Me Down Again’… in fact, all that was missing was the cornfield wave but in its place came an acappella terrace chorus that continued from the moment the band left the stage after the main part of the set until their return for the first encore. Launching into the powerful ‘Born To Lie’, the crowd had their hands in the air for a satisfying slice of gothic glam before heading onto the final straight with ‘Friends Like These’.

But it was not actually over because for the second encore, there was a surprise as Silverthorn, Suleman and live keyboardist Richard Broadhead took their positions minus their singer. Hockings then suddenly appeared at the back on the venue under a stark spotlight for a wonderful ‘You Couldn’t See This Coming’… and you couldn’t!

He was in fine voice, as he had been throughout the evening, providing his angsty but accessible tones over the emotive, orchestrated soundtrack. Nearly twenty years on, MESH are at the height of their powers having produced possibly their best album yet in ‘Automation Baby’ and one of their best live shows too.There are not many bands at any level that have managed that so long into their career. So go check them out… what are you scared of?


MESH ‘Automation Baby’ is released by Dependent on CD and download

DE/VISION are to release a live DVD and album via Pledge Music

TORUL’s new album ‘Tonight We Dream Fiercely’ is available now on Infacted Recordings as a CD and download

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

http://www.facebook.com/pages/DEVISION/24741337633

http://www.torul-recordings.net/


Text and Photos by Chi Ming Lai
24th April 2013

MESH Automation Baby

MESH have been around for over 21 years and are the UK’s secret export to the EU.

Making their fortunes in Germany on the lucrative Pluswelt circuit, the Bristol outfit were so highly regarded at the turn of the century that their 2002 album ‘Who Watches Over Me?’ was released on Home, a German subsidiary of Sony where one of their label mates was Karl Bartos. Often cruelly referred to as De-MESH Mode, while constituents of their sound are familiar, there is much more to them; their catalogue contains several rousing tunes with  ‘Trust You’, ‘Little Missile’, ‘Crash’ and ‘Only Better’ as proof of their capability.

Their previous offering ‘A Perfect Solution’ saw a darker shift compared with its predecessor ‘We Collide’ and ‘Automation Baby’ continues that journey with detached virtual relationships as its thematic core. MESH’s founders Mark Hockings and Richard Silverthorn know their audience so the lattice of danceable electro-rock and incidental instrumentals from previous albums continues.

Lead single ‘Born To Lie’ is a brilliantly aggressive slice of goth glam, complete with catchy chorus and football terrace chants. Certainly it’s a more immediate album advert than Depeche Mode’s ‘Heaven’.

And like that other Germanophile IAMX, MESH often fill the void apparent in DM’s inconsistent 21st Century output. ‘Taken For Granted’ for example is a steadfast stadium stomper in the vein of DM’s ‘Never Let Me Down Again’. Meanwhile, opener ‘Just Leave Us Alone’ is a classic MESH anthem while ‘You Want What’s Owed to You’ and ‘Flawless’ ensure that things are business as usual.

Although MESH have always tackled ballads to a certain degree, the atmospheric maturity of those on ‘Automation Baby’ are a big surprise. The beautiful ‘It’s The Way I Feel’ shows a more sensitive side with hints of Ennio Morricone. Shaped by acoustic guitar and string machine washes, it provides a welcome diversion while ‘Adjust Your Set’ possesses some subtle traits despite its mechanical rhythms. And the aptly titled ‘You Couldn’t See This Coming’ sees Hockings’ passionate angst over gentle step sequences and orchestrated backing to make an appropriate closer.

MESH have a loyal and passionate fanbase who have been more than vocal about the band’s lack of critical recognition. They will be more than happy with the majority of ‘Automation Baby’. But with the sonic balance bolstered by additional strings to their bow, there could be some new recruits too.


‘Automation Baby’ is released by Dependent on CD, limited edition 2CD and download formats

MESH play an extensive UK and European tour between March and April 2013.

Berlin Columbia Club (22 March), Erfurt HSD (23 March), Warsaw Progresja (24 March), Bristol The Fleece (30 March), Hamburg Markthalle (05 April), Gothenburg Brewhouse (6 April), Rostock M.A.U. Club (7 April), Hannover Musikzentrum (9 April), Cologne Live Music Hall (10 April), Bochum Matrix (12 April), Leipzig Werk II Festival (13 April), Munich Backstage (14 April), Vienna Szene (15 April), Strasbourg La Laiterie (16 April), Frankfurt Main Batschkapp (17 April), Newcastle Legends (19 April), Manchester Sound Control (20 April), London Islington O2 Academy (21 April)

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

http://www.facebook.com/meshtheband

http://www.dependent.de


Text by Chi Ming Lai
16th March 2013

A Beginner’s Guide To The MARSHEAUX Remixes

In these days of modern remixing, recordings are often reworked to oblivion with the end result being a pointless club track that bears little relation to the original.

In these types of reinterpretations, vocal samples might occasionally appear but everything else is as good as rendered unrecognisable. One of the worst early examples of this indulgence was the Transcendental Constant Viper Mix of OMD’s ‘Stand Above Me’ by Phil Kelsey from 1993… that case was made even worse because what had actually been reworked was another track altogether, namely ‘Dream Of Me’!

Who these versions are aimed at is often a mystery although an excellent article on How The Major Labels Sold ‘Electronica’ To America sheds light on how this madness may have started. And now today with reciprocal remix arrangements being used as part of a dual marketing tool, sometimes quite incongruous pairings are procured with the final outcome getting a mixed reception and often alienating both sets of fanbases.

However, some artists take a more sympathetic approach to the remix opportunity and offer beat enhancements, extra melodic parts and instrumental breakdowns to compliment a track in a far more classic tradition. Richard X, Mark Reeder, PET SHOP BOYS, THE MANHATTAN CLIQUE and FREEMASONS have proved to be fine purveyors of this more accessible song based interplay. But one duo who outstrip them all with their digi-electro style are Athens based synthgirls MARSHEAUX.

Together with their producers FOTONOVELA, Marianthi Melitsi and Sophie Sarigiannidou combine their best synthpop sensibilities with both feet on the dancefloor to deliver some of the best received pop styled remixes of the last ten years with many established artists among their portfolio. These include official commissions, such as one for Katy Perry which has since become the biggest selling single recording that MARSHEAUX have been involved in, as well as bootlegs for their own club DJ sets.

The gift Sophie and Marianthi have when remixing is they always manage to enhance a song with their stamp while retaining the core essence of the original – simple in theory but in reality, not an easy thing to do! But when MARSHEAUX had a go at remixing OMD’s comeback single ‘If You Want It’, even their dainty craft work couldn’t turn that particular donkey into a racehorse!

So with a new album from Sophie and Marianthi still a while away, here then are MARSHEAUX’s best 18 remixes to check out, in alphabetical order by artist. ELECTRICITYCLUB.CO.UK believes this impressive collection would make a rather good compilation album. Perhaps it could be called ‘Dream Of A Disco’?


CLIENT Its Not Over (2008)

MARSHEAUX took their visual inspiration from CLIENT so when they toured Germany together in 2008, it was a most perfect pairing. On ‘It’s Not Over’, some Hellenic shine is added to CLIENT’s Cold War chic for a slice of electro perfection. Sarah Blackwood’s vocal is given space to breathe while the sharpened glitterball backing retains the fuzzy edge of the original but with some additional Eurocentric riffage.

Available on the CD EP ‘It’s Not Over’ via Out Of Line Records Germany. Listen on YouTube http://youtu.be/P1A9d6kU7JE

www.client-online.eu

www.eblackwood.com


DAYBEHAVIOR It’s A Game (2011)

This synth trio hail from Stockholm but with singer Paulinda’s Italian heritage, a Mediterranean flavour colours their cooler Nordic spirit. So with that in mind, come the bouncy remix of an already brilliant track, this version of ‘It’s A Game’ could easily be mistaken for one of Sophie and Marianthi’s own recordings.

Available on the download single ‘It’s A Game’ via Graplur Records Sweden

www.daybehavior.com


DEPECHE MODE A Pain That I’m Used To (2007)

Already a magnificent brooding epic in its original form, this mighty opener to the ‘Playing The Angel’ album boasted “pain and suffering in various tempos” was brilliantly transformed by MARSHEAUX. They adding their own sparkling top end dynamic as well as an ominous bass rumble. Although never officially released, this was voted top remix in a poll of DEPECHE MODE fans.

www.depechemode.com


ELECTROBELLE Mirrorball (2008)

The original first appeared in 2008 on an EMI Greece related compilation as part of the lead up to a full single release by Undo Records. However, this did not materialise and it wasn’t until Autumn 2010 that it was issued in its own right as an independent EP. The original was good but MARSHEAUX’s remix was even better. The girls toughened ‘Mirrorball’ up to an EU friendly dancefloor splendour with additional air-synth riffage and interluding attacks that added some extra energy to proceedings.

Available on the CD EP ‘Mirrorball’ via Eden Records

https://www.facebook.com/electrobelle


MYLÈNE FARMER N’aie Plus D’amertume (2011)

Gallic songstress Mylène Farmer is her country’s equivalent of Madonna if slightly less controversial and diva-ish. Her sound does seem to benefit from disco enhancements, having already scored a No1 in her own country with the MOBY / MANHATTAN CLIQUE collaboration ‘Crier La Vie’. Almost translating as “do more bitterness”, this ballad is given a dreamy uptempo facelift by MARSHEAUX which is pop perfection.

www.mylene.net


THE HUMAN LEAGUE Sky (2011)

Like a post mid-life update of 1984’s ‘Louise’ for the new millennium, Philip Oakey says ‘Sky’ is about “meeting dead girls in bars”. Suitably sombre and monotone synthpop for ‘The Vampire Diaries’ generation, ‘Sky’ is proof that Da League can still come up with great tunes. MARSHEAUX’s busy pulsing adds more fortified Italo elements without disrupting the original’s wonderful melancholy and livens the tempo.

www.thehumanleague.co.uk


HURTS Better Than Love (2010)

Theo Hutchcraft and Adam Adamson’s HI-NRG ditty underwent many manifestations having been originally part of their previous band DAGGERS’ live set. The fastest paced song in the HURTS catalogue, MARSHEAUX’s version hypnotised with its frenetic dancefloor friendliness and sequencing. Again retaining all the best euphoric elements of the song, this remix simply sparkles with optimism.

www.informationhurts.com


IN-VOX featuring ANDY BELL Will I Ever? (2004)

Ever wondered how ERASURE would have sounded doing ‘Go West’? Here it is in this highly uplifting collaboration with Greek duo IN-VOX. The original was fairly guitar driven but MARSHEAUX’s remix, which incidentally was their first, added a distinct electronic sheen to make it a pop masterpiece. Much better than the cover versions which Andy and Vince were attempting at this point.

Available on the CD single ‘Will I Ever?’ via Sony Music Greece and Columbia Records Austria.  Listen on YouTube http://youtu.be/YvkwXKlvZwk

www.myspace.com/invox1

www.andybell.com


KID MOXIE Medium Pleasure  (2009)

KID MOXIE give a cynical snarl waxing lyrical about how society accepts the culturally mundane and mediocre. With a tedious evening led by COLDPLAY, SNOW PATROL and ELBOW for Children In Need warmly received by the masses, this just rings so true. Thankfully, MARSHEAUX’s interpretation of ‘Medium Pleasure’ is anything but mundane and mediocre, with rhythmical life enhancement through exposure to cool female fronted electro guaranteed.

Available on the Greek CD edition of ‘Selector’ via Undo Records. Listen on YouTube http://www.youtube.com/watch?v=aRRrL0pWyrk

www.myspace.com/kidmoxie


MESH Crash (2006)

Adding some light into the dark industrialists’s repertoire, this bleepy reworking emphasises MESH’s sometimes hidden knack for rousing and catchy electronic tunes. With some of the rockier tendencies stripped away, it becomes club friendly gothic pop that retains the all the dynamic tension and synth soloing of its parent recording. It’s almost like DEPECHE MODE go disco, complete with a lift from ‘It’s No Good’!

Available on the Greek CD edition of ‘We Collide’ via Undo Records.

www.mesh.co.uk


MIRRORS Into The Heart (2011)

Christened the ‘Greek Girls Are Not Easy’ mix, Sophie and Marianthi turned MIRRORS’ most accessible track into a sensational neo-robotic danceathon. The as-yet-unreleased extended version added even more sharp synth counterpoints to the majestic singalong with the whole package proving that classic Synth Britannia influences are nothing to be ashamed of.

Available on the Greek CD edition of ‘Lights & Offerings’ via Undo Records. Listen on YouTube https://youtu.be/77f812hkDBg

www.theworldofmirrors.com


MOBY Lift Me Up (2005)

The original version was used as the theme for the UK’s Formula 1 coverage for a few years in the noughties and while it doesn’t have the instant resonance that FLEETWOOD MAC’s ‘The Chain’ has in its association with motorsport, it is certainly an energetically rousing anthem. At a less frantic pace, MARSHEAUX’s remix with its firm octave shift drive is a regular staple in their DJ sets and always well received by clubbers.

www.moby.com


OMD She’s Leaving (2008)

Technically, this is not a remix as it started life as a cover version of the ‘Architecture And Morality’ classic. However, a new vocal by Andy McCluskey was added and this delightfully rounded with the angelic melancholy of MARSHEAUX’s own sweet timbres. Given a modern discofied softsynth facelift, this pretty duet is a fine example of how yesterday’s tomorrow can successfully meet the present and the future.

Unreleased at time of writing, listen on YouTube http://youtu.be/ly6JDo8o1I0

www.omd-messages.co.uk


KATY PERRY Hot ‘N’ Cold (2009)

Katy Perry kissed a girl and liked it, but behind all the shock tactics was some quality songs written by Cathy Dennis and in the case of ‘Hot ‘N’ Cold’, Swedish megapop producer Max Martin. Taking its cue from the PET SHOP BOYS remix of THE KILLERS’ ‘Read My Mind’, this superb reworking by MARSHEAUX can only be described as truly banging! When presented to Katy Perry’s management, they were none too pleased but the lady herself loved it and sanctioned its release.

Available exclusively as an iTunes download single via EMI Records Greece

www.katyperry.com


SAKIS ROUVAS Shake It (2004)

MARSHEAUX went to the Eurovision Song Contest with their electro assisted radio mix of this saucy uptempo number. Sakis Rouvas, who could be considered Greece’s own Ricky Martin, came 3rd in proceedings and went to No1 in his home country. While ‘Shake It’ is not exactly a work of genius, it is good fun and did considerably better than the UK’s entry which came 16th.

Available on the CD Single ‘Shake It’ via EMI Records

http://www.sakisrouvas.com/


SALLY SHAPIRO Jackie Jackie (2010)

SALLY SHAPIRO is the Queen of Scandinavian electropop and has won many admirers. With her wispy vocal and discotheque tendencies, she shares a musical affinity with MARSHEAUX. Interestingly though, the original of this was more of a pretty crystalline ballad. So MARSHEAUX added a 2010 percussive backbone to give it disco potential and thereby construct an uplifting anthem in time for the new decade.

www.facebook.com/shapirosally


TAREQ Mosquito (2011)

Greco Jordanian Tareq Souleiman was previously the lead singer of TECH SOIR and his vocal timbres make him electro’s answer to INXS’ Michael Hutchence as his cover of ‘Need You Tonight’ indeed shows. ‘Mosquito’ with its relaxed but pacey drum ‘n’ pop was the superb highlight from his first solo album ‘Cocoon’. Here though, MARSHEAUX take the pace down to a slower off-beat groove for an even greater chilled mood with Marianthi’s soft vocals, symphonic strings and KRAFTWERK’s Vako Orchestron choirs from ‘Radio-Activity’ added to the mix.

http://www.facebook.com/Tareqdisco


TIGER BABY Girlfriend (2006)

Dream laden electro from Copenhagen, TIGER BABY are another act who could be mistaken for MARSHEAUX with that synthpop vibe combined with sweetly gorgeous vocals from Pernille Pang. Stylistically, this has all the impressive hallmarks of the MARSHEAUX sound combined with the unmistakeable melodic sensibility that Scandinavian pop acts seem to naturally possess.

Available on the CD single ‘Girlfriend’ via Gunhero Records Denmark

www.tigerbaby.dk


With thanks to MARSHEAUX, all at Undo Records and EMI Greece

A selection of MARSHEAUX’s remixes can be heard at:
https://soundcloud.com/marsheauxremixes/

http://www.marsheaux.com

http://www.undorecords.com


Text by Chi Ming Lai
3rd December 2011

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