Tag: Metroland (Page 6 of 7)

FAVOURITE 30 ALBUMS 2010 to 2014


In the five years since its formation on 15th March 2010, ELECTRICITYCLUB.CO.UK has reviewed over 100 albums and EPs.

During this time, the album has become less of an artistic statement, with the focus of both consumer and media on single songs directly led to the prominence of the extended EP or mini-album in today’s digital marketplace.

It is a halfway house, but at least the creative output of an artist can be showcased by a small body of work. And increasingly, many are combining and reworking several EP releases in order to formulate a full length album. Despite the move towards downloads and streaming, there is still a demand for physical product.

However, ELECTRICITYCLUB.CO.UK has been slightly bemused by the music industry bias towards vinyl, to the neglect of CD. It should be noted that silver digital discs are still the preferred medium for the general consumer, as proven by the million plus sales of Taylor Swift’s ‘1989’ opus on CD. This was a release which was confined to compact disc and digital download variants with no concessions towards streaming and, initially in the first few months of release, vinyl.

ELECTRICITYCLUB.CO.UK confesses it has no love whatsoever for vinyl in the 21st Century, and is rather irritated by it being turned into an antiquated object of fetish and snobbery which bears little relation to the music on it. And to think ironically that the world’s record labels tried to kill off vinyl back in 1989 in favour of err… cassette! Yes, the music industry… as forward thinking as ever!!

With regards Spotify, ELECTRICITYCLUB.CO.UK actually is not particularly fond of that either… even with the subscription model, with so much music available, most of it is not listened to properly, thus devaluing any music that is perhaps worthy of greater recognition. Think of it like the casual music festival goer who just hops between all the acts playing on the many different stages after just two songs… it’s a false economy in reality!

But despite its concerns, ELECTRICITYCLUB.CO.UK still loves a good album in whatever format. It is the content that is most important, not the mode of carriage. So which long players still stand up to scrutiny and can claim to have lasted the course over the last five years? Listed by year then alphabetical order, with a restriction of one album per artist and no recent releases from 2015, here are our 30 favourite albums from the period between 2010 to 2014…


GOLDFRAPP Head First (2010)

Although now disowned by the duo, ‘Head First’ was Alison Goldfrapp finally all relaxed and having fun. Stomping synth tunes like ‘Alive’, ‘Believer’ and ‘Believer’ were fine examples of Ms Goldfrapp taking her Olivia Newton John fixation (which had been apparent on early B-side ‘UK Girls’ with its interpolation of ‘Physical’) to a fully realised musical level.

But best of all though on this short and sharp collection were the marvellous ABBA tribute of the ‘Head First’ title track and the ethereal ARP laden Eurodisco of ‘Dreaming’. While the more recent ‘Tales Of Us’ has seen GOLDFRAPP venture into more cinematic orchestrations again, a return to electronic pop is always possible with Ms Goldfrapp’s record of chameleon-like tendencies.

‘Head First’ is available as a CD, LP and download via Mute Records

http://goldfrapp.com/


VILLA NAH Origin (2010)

One of the best electronic albums to have been released in 2010, ‘Origin’ was a fine crystalline balancing act that combined the classic synthpop of days gone by, with the freshness of new technologically fuelled dance music. The songs of the Helsinki based duo Juho Paolosmaa and Tomi Hyyppä ranged from the supreme Gary Numan on Prozac of ‘Remains Of Love’ and ‘Ways To Be’, to the Moroder-esque hypnotism of ‘Kiss & Tell’.

Then there were the OMD influences on ‘Some Kind Of Dream’ and ‘Envelope’ so it was not entirely surprising the pair were invited to support than band on their 2010 tour. But while VILLA NAH then went into hiatus, Paolosmaa partnered up with ‘Origin’ co-producer Jori Hulkkonen to form SIN COS TAN.

‘Origin’ is available as a CD, LP and download via Keys Of Life Records

https://www.facebook.com/pages/villa-nah/8854069998


AUSTRA Feel It Break (2011)

Austra-feel it breakThe baroque electronic trio of Katie Stelmanis, Maya Postepski and Dorian Wolf successfully broke away from the short lived Witch House sub-genre to yield their own emotionally charged sound. The moodily enigmatic ‘Beat & The Pulse’ and the frankly bonkers ‘Lose It’ had already gained a worthy amount of attention as singles and luckily, AUSTRA’s debut album did not disappoint.

The tremendously epic spectre of ‘The Villain’ successfully utilised programmed technology and live drums while the sexual tension of ‘Spellwork’ was like a gothic opera crossing THE KNIFE with DEPECHE MODE that provided their most overtly synthpop offering.

‘Feel It Break’ is available as a CD, LP and download via Domino / Paper Bag Records

http://www.austramusic.com


DURAN DURAN All You Need Is Now (2011)

Since the return of the classic line-up in 2004, DURAN DURAN’s new material had general failed to meet expectations. However, despite losing guitarist Andy Taylor on the way, the Mark Ronson produced ‘All You Need Is Now’ saw DURAN DURAN reclaim their quintessential sound.

The superb glitterball rework of ‘Are Friends Electric?’ for the title track signalled their intentions while ‘Girl Panic’ and ‘Runaway Runaway’ captured classic Duran for the 21st Century. The superb sequencer assisted ‘Being Followed’ had a tingling metallic edge that captured the tensions of post 9/11 paranoia while songstress Kelis dreamily counterpointed on the moody, string laden ‘Man Who Stole A Leopard’ which recalled ‘The Chauffeur’. Nick Rhodes claimed the album was “undoubtedly one of the strongest of our career”; and he was right!

‘All You Need Is Now’ is available as a CD and download via Tape Modern

http://www.duranduran.com


JOHN FOXX & THE MATHS Interplay (2011)

john foxx maths_interplay‘Interplay’ was possibly John Foxx’s most complete and accessible body of work since his classic ‘Metamatic’. Together with Chief Mathematician and synth collector extraordinaire Benge aka THE MATHS, the use of vintage electronics with modern recording techniques captured a mechanised charm while simultaneously adding a correlative warmth.

Among the realised examples of this fresh approach were the feisty ‘Catwalk’, the electro-folkisms of ‘Evergreen’ and the eerie ‘The Running Man’. One of the stand-out tracks ‘Watching A Building On Fire’ featured Mira Aroyo of LADYTRON and was perfectly dystopian, while the title track and closer ‘The Good Shadow’ both added a subtle atmospheric quality to proceedings.

‘Interplay’ is available as a CD, LP and download via Metamatic Records

http://blog.johnfoxxandthemaths.com/


MAISON VAGUE Synthpop’s Alive (2011)

‘Synthpop’s Alive’ by MAISON VAGUE was one of the surprise albums of 2011 and the creation of Clark Stiefel, a German domiciled American with a love for all things Synth Britannia. A classically trained virtuoso who studied piano and electronic music at a conservatoire, his title track battle cry sounded like the result of an unlikely sexual liaison between DEVO and PLACEBO.

Chunky riff laden tracks such as ‘Pixelated Lover’, ‘My Situation’, ‘Living On Ice Cream’ and ‘Give Them Away’ affectionately revived The Gary Numan Principle but for some variation, there were the marvellous Bette Midler gone electro of ‘No Show’ and the reggae inflected ‘Tunnel Vision’.

‘Synthpop’s Alive’ is available as a download album via Stiefel Musik

http://www.maisonvague.com


MIRRORS Lights & Offerings (2011)

Brighton pop-noir quartet MIRRORS’ only album ‘Light & Offerings’ was a seamless majestic journey swathed in layers of vintage electronics and modern rhythmical dynamics. It began with superb sonic pulsar of ‘Fear Of Drowning’ with its dramatic overtures of young manhood before continuing with reworked recordings of the band’s excellent first two singles ‘Look At Me’ and ‘Into The Heart’.

The sublime ‘Hide & Seek’ was soulful electronic pop while ‘Ways To An End’ proved MIRRORS could cut it on the dancefloor too. Elsewhere, ‘Somewhere Strange’ took the listener on the most euphoric train ride since NEW ORDER’s ‘Temptation’ while the final track ‘Secrets’ was an ambitious ten minute epic in three movements featuring its own ambient parenthesis. MIRRORS were worthy successors to the original Synth Britannia generation, but they sadly fragmented in Autumn 2011 and all momentum was lost before things really could get going.

‘Lights & Offerings’ is available as a CD, 2LP and download via Skint Records

http://mirrorsofficial.bandcamp.com/


GRIMES Visions (2012)

grimes_visionsWith the critically acclaimed ’Visions’, Montreal’s GRIMES aka Claire Boucher explored a hybrid style of electro influenced by K-Pop, New Age and R ‘n’ B. ‘Genesis’ was one of many kookily inventive tunes on the album and like its close cousin ‘Oblivion’, played with Kling Klang derived rhythm section that came over like Lykke Li fronting KRAFTWERK.

Often using pentatonic scaling to show her affinity towards South East Asian culture, GRIMES’ sumptuously infectious approaches made tracks such as ‘Be A Boy’, ‘Colour of Moonlight (Antiochus)’ and ‘Vowels = space and time’ an aurally challenging but rewarding listen. And all this while retaining a quirky sense of humour in her promo videos…

‘Visions’ is available as a CD, LP and download via 4AD Records

http://www.grimesmusic.com


MARSHEAUX E-Bay Queen Is Dead (2012)

While technically a stopgap compilation of rare and unreleased MARSHEAUX tracks, the ‘E-Bay Queen Is Dead’ collection did provide a mostly cohesive listening experience including a plethora of non-album tracks such as ‘How Does It Feel?’, ‘Sadly’, ‘Fischerprice’ and the FRONT 242 influenced ‘Bizarre Love Duo’.

MARSHEAUX’s charmingly delightful synthpop covers of ‘Empire State Human’, ‘Eyes Without A Face’ and ‘She’s Leaving’ were also largely present and correct. Meanwhile, two uptempo outtakes from the ‘Inhale’ sessions ‘Do You Feel?’ and ‘Inside’ indicated where their fourth album might have headed had MARSHEAUX’s national surroundings been less economically turbulent.

Available as a CD and download via Undo Records

https://www.facebook.com/marsheaux


METROLAND Mind The Gap (2012)

Although METROLAND have little in common with GIRLS ALOUD, they are indeed The Sound Of The Underground. While highly influenced by KOMPUTER and KRAFTWERK, the single ‘Enjoying The View’ indicated METROLAND were more textural in their use of synthetic sequences, robotic vocals and vintage drum machines.

With tributes to London Underground map designer ‘Harry Beck’, Kling Klang homages such as ‘It’s More Fun To Commute’ and a cover version of Iggy Pop’s ‘The Passenger’ that has to be heard to be believed, METROLAND’s soundtrack provided a ride through an electronic landscape designed for the commuter world.

‘Mind The Gap’ is available as a CD, deluxe 2CD and download via Alfa Matrix Records

http://www.metrolandmusic.com/


SIN COS TAN Sin Cos Tan (2012)

Having worked together on the ‘Origin’ album, a side project between VILLA NAH’s Juho Paalosmaa and ace producer Jori Hulkkonen was almost inevitable. Under the moniker of SIN COS TAN, their debut album impressed with a rich filmic quality permeating amongst all the synths and drum machines in a much more mature approach than had been apparent on ‘Origin’.

There was plenty of variation too, from the dark, atmospheric space ballad ‘In Binary’ and laid back electro R’n’B of ‘Book Of Love’ to the NEW ORDER styled dream attack of ‘After All’ and the almost Balearic ‘Calendar’. But true to form with Hulkkonen’s intelligent disco manoeuvres, the beat templates were complimentary and never overbearing. And with the sublime “disco you can cry to” closer of ‘Trust’, SIN COS TAN’s place in electronic music has been assured.

‘Sin Cos Tan’ is available as a CD, LP and download via Solina Records

http://sincostan.net/


TRUST TRST (2012)

trust_trstA release that actually slipped under the radar on initial release, TRUST was the project of Robert Alfons and AUSTRA’s Maya Postepski. Although Postepski left after its release to return to AUSTRA, ‘TRST’ made a slow burning impact as Alfons toured his “Eeyore gone goth” electro template around the world.

The filthy ‘Gloryhole’ was a wondrous combination of portamento and dance beats, while ‘Bulbform’ was perfectly doomy disco. There were more immediate moments too like the trancier synthscapes of ‘Sulk’ and the alternate Euro-disco of ‘Dressed In Space’ which came over like a more depressed version of CAMOUFLAGE. In all, ‘TRST’ was one grower of a record.

‘TRST’ is available as a CD, LP and download via Arts & Crafts

http://ttrustt.com/


ULTRAVOX Brilliant (2012)

‘Brilliant’ reminded people why the classic line-up of ULTRAVOX were supreme when firing on all cylinders. It also laid to the rest, the ghost of the dreadful ‘U-Vox’ album in 1986. The title track and ‘Live’ contained all the hallmarks of Billy Currie’s Eurocentric piano and synth embellishments complimented by the motorik power house of Chris Cross and Warren Cann while Midge Ure’s voice now possessed a fragility and honesty that could only come from life experience.

Then there was the pounding electronic rock of ‘Satellite’ and  the percolating sequences of ‘Rise’ which saw the return of Currie’s distinctive ARP Odyssey soloing. The whirring Odyssey also appeared on ‘Change’ with beautiful ivory runs over the shuffling schlagzeug. ‘Brilliant’ was proof than while Billy Currie needed Midge Ure, Midge Ure also needed Billy Currie.

‘Brilliant’ is available as a CD, 2LP and download via EMI Records

http://www.ultravox.org.uk


KARL BARTOS Off The Record (2013)

If people can still hold enough regard for a version of KRAFTWERK featuring just Ralf Hütter to crash the websites of the world’s art spaces, then Karl Bartos should at least be accorded some kind of equal status. After all, Bartos did co-write ‘The Model’, ‘The Robots’, Neon Lights, ‘Numbers’ and ‘Computer Love’.

Utilising musical sketches and ideas gathered during his period with KRAFTWERK and his later project ELEKTRIC MUSIC, ‘Off The Record’ was a fully realised recording with Kling Klang at its heart. Indeed, ‘Without A Trace Of Emotion’ saw Bartos conversing with his showroom dummy Herr Karl and confronting his demons. The punchy ‘Rhythmus’ revisited ‘Numbers’ and ‘Computer World 2’ while the wonderful ‘Hausmusik’ had its clanking core driven by the type of mechanised backbeat heard on the ‘Autobahn’ and ‘Radio-Activity’ albums. Even using ideas gathered prior to 1996, he produced a classic but modern electronic pop album.

‘Off The Record’ is available as a CD, LP and download via Bureau B

http://www.karlbartos.com/


BEF Music Of Quality & Distinction Volume 3 – Dark (2013)

The third instalment to Martyn Ware’s ambitious BEF covers project, amongst its fourteen tracks was some of his most overtly electronic work since he was in THE HUMAN LEAGUE. Kim Wilde’s brilliant opener ‘Every Time I See You Go Wild’ used just a Roland System 100 while the Giorgio Moroder meets SPACE electro disco of ‘Same Love’ featuring David J Roch was another highlight.

Other notable vocalists included Andy Bell on an eerie take of ‘Breathing’, Polly Scattergood’s kooky vocal on ‘The Look Of Love’ and Boy George whose interpretation of ‘I Wanna Be Your Dog’ possessed a previously unheard grouchy edge. But it was a slowed down waltz remake of ASSOCIATES’ ’Party Fears Two’ voiced by HEAVEN 17’s Glenn Gregory that virtually stole the show and brought the hankies out.

‘Music Of Quality & Distinction Volume 3 – Dark’ is available as a CD, deluxe 2CD and download via Wall Of Sound

http://www.heaven17.com/bef/


CHVRCHES The Bones Of What You Believe (2013)

Like it or not, CHVRCHES have managed to attain a mainstream recognition that was denied to MIRRORS, thus furthering the cause of electronic pop worldwide. And in Lauren Mayberry, they have a sweet voice that counterbalances some of the harsher aural aesthetics that come with using Moog and her sisters.

This album was full of quality synthpop with excellent songs such as ‘The Mother We Share’, ‘Science / Visions’, ‘Gun’, ‘Lies’ and ‘Recover’. However, an otherwise great debut was spoilt by Martin Doherty’s dreary blokey ramblings on ‘You Caught The Light’ and ‘Under The Tide’… and with the far superior ‘Now Is Not The Time’ sitting on the B-side bench, it is this type of noted Glaswegian bloody mindedness that will be the Achilles’ Heel to this trio achieving further success.

‘The Bones Of What You Believe’ is available as a CD, LP and download via Virgin Records

http://www.chvrch.es/


FEATHERS If All Now Here (2013)

While claims that FEATHERS were the female DEPECHE MODE may have perhaps been overstated, ‘If All Now Here’ was an impressive opening gambit that actually came over more like THE BANGLES fronting Basildon’s finest. Essentially the one woman project of Anastasia Dimou, she successfully combined harmonies, dystopia and deserts for some dreamy electronic soundscapes.

‘Land Of The Innocent’ was a wondrous epic based around the arpeggio of ‘Ice Machine’ while ‘Soft’ borrowed from the single mix of ‘Behind the Wheel’, but added an enlightening pop sensibility. Of course the raunchier, bluesier side of DM revealed itself on ‘Fire In The Night’ and ‘Believe’, but in ‘Dark Matter’, there was a tune with a Latino dancefloor heart, but reimagined by NITZER EBB! Opening for DEPECHE MODE on the winter 2014 leg of the ‘Delta Machine’ tour completed the circle.

‘If All Now Here’ is available as a download via Nyx, CD available via http://feathers.bandcamp.com/album/if-all-now-here

http://www.feathers.fm/


FOTONOVELA A Ton Of Love (2013)

Named after the cult Italo standard, FOTONOVELA and their sophomore album ‘A Ton Of Love’ was conceived as a supreme electronic record featuring vocalists from all stages of classic synthpop, as a homage to the genre. As a sign of their ambition, the first person they approached was Andy McCluskey and the sessions went well… so well, that the resultant number ‘Helen Of Troy’ ended up on OMD’s ‘English Electric’ opus instead!

With tracks being coveted by their heroes, it boded well for the remainder of the album. With a cast that included SECTION 25, KID MOXIE and MARSHEAUX, the quality was maintained and several cases, even exceeded. In particular, ‘Our Sorrow’ featuring MIRRORS’ James New captured the essence of classic OMD with a spirited, majestic vocal while ‘Justice’ found DUBSTAR’s Sarah Blackwood in particularly feisty form. The presence of some of the most distinct voices in electronic pop music made ‘A Ton Of Love’ a fine showcase for one of best production teams in Europe.

‘A Ton of Love’ is available as a CD and download via Undo Records

http://www.facebook.com/undofotonovela


MARNIE Crystal World (2013)

With LADYTRON in hiatus, Helen Marnie set out “to create an electronic album with more of a pop element and pristine vocals” for her first solo record. Vocally and musically expansive like an Arctic escapist fantasy, this objective was achieved with ‘Crystal World’ with the classic pop of ABBA and Mama Cass obviously apparent as well as Marnie’s love of fellow weegies CHVRCHES.

The brilliant launch single ‘The Hunter’ was the vibrant electropop single that LADYTRON never quite got round to releasing while there were other shining jewels like ‘Hearts On Fire’, ‘We Are The Sea’,  ‘High Road’ and ‘Sugarland’. Meanwhile, ‘The Wind Breezes On’ was MARNIE’s own ‘Love Is A Stranger’ while the neo-acappella ‘Laura’ sat as a lush centrepiece to the collection.

‘Crystal World’ is available as a CD, LP and download via Les Disques Crespuscle

http://www.helenmarnie.com


MESH Automation Baby (2013)

MESH’s danceable electro-rock ambitions became fully realised on ‘Automation Baby’. The lead single ‘Born To Lie’ was a brilliantly aggressive slice of Goth glam while in ‘Taken For Granted’, MESH had their own ‘Never Let Me Down Again’. ‘Just Leave Us Alone’ added some trancey dressing to their template but it was the atmospheric maturity of the album’s ballads that were the big surprise.

The beautiful ‘It’s The Way I Feel’ showed a more sensitive side with hints of Ennio Morricone while ‘Adjust Your Set’ displayed some subtle traits despite its mechanical rhythms. But with the aptly titled ‘You Couldn’t See This Coming’, this orchestrated epic saw Mark Hockings’ passionate angst exposed for all. With the sonic balance bolstered by additional strings to MESH’s bow, ‘Automation Baby’ was undoubtedly the best album of their career to date.

‘Automation Baby’ is available as a CD and download via Dependent Records

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


MOBY Innocents (2013)

On ‘Innocents’, MOBY’s familiar chord changes and sweeping string synths were all present and correct. But this was an adventurously beautiful work tinged with emotion, sadness and resignation that explored mid-life and mortality. Damien Jurado’s sensitive vocal on ‘Almost Home’ provided a marvellous slice of folktronica while Skylar Grey’s angelic voice on ‘The Last Day’ provided a beautiful innocence over the looping male gospel sample.

One of the key moments of the album was ‘The Perfect Life’, an enjoyable duet with FLAMING LIPS’ Wayne Coyne that came over bizarrely like Gary Numan at a Pentecostal church! With an elegiac tension, MOBY described parts of ‘Innocents’ as “nostalgic futurism”… it was also soothing electronic soul.

‘Innocents’ is available as a CD, deluxe 2CD, 2LP and download via Little Idiot

http://www.moby.com


OMD English Electric (2013)

In 2013, Andy McCluskey and Paul Humphreys finally released the album that many had been wanting since 1984. ‘English Electric’ was a brilliant concept album that encompassed the mantra “what does the future sound like?” The reality of unfulfilled dreams and impending mortality lingered on ‘Metroland’ and ‘Night Café’ while ‘Dresden’, ‘Helen Of Troy’ and ‘Final Song’ used clever metaphors for tales of relationship breakup.

However, the magnificent ‘Our System’ did what OMD always did best, with an emotive soundtrack about the universe while ‘Kissing The Machine’, McCluskey’s collaboration with KARL BARTOS from 1993, was given some appropriate Synth-werk. And there was the return of the Paul Humphreys vocal on the very personal ‘Stay With Me’, a melodic ditty that was up there with ‘Souvenir’.

‘English Electric’ is available as a CD, deluxe CD/DVD, LP and download via BMG Music

http://www.omd.uk.com


PET SHOP BOYS Electric (2013)

Laced with House, Italo and Eurotrance references, ‘Electric’ took a few risks with the opening track ‘Axis’ being virtually instrumental, re-imagining Bobby Orlando in the 22nd Century. The brilliantly titled ‘Love Is A Bourgeois Construct’ recalled the pomp of ‘I Wouldn’t Normally Do This Kind Of Thing’ but then came the hypnotic ‘Fluorescent’. Basically a wonderful dancefloor makeover of ‘Fade To Grey’, waves of synth sirens attacked like a Martian invasion.

Meanwhile, ‘Thursday’ re-explored the New York club scene with the distinctive squelch of a TB303 and captured the vibrant excitement of what is now the new Friday. The slightly berserk ‘Shouting In The Evening’ was a slice of “banging” techno before the comparatively conventional ‘Vocal’. With the vivid sentiment “I like the singer, he’s lonely and strange – every track has a vocal…and that makes a change”, it was a befitting conclusion of what this album was about; ‘Electric’ by name and electric by nature.

‘Electric’ is available as a CD, LP and download via X2 Recordings

http://www.petshopboys.co.uk


TWINS NATALIA The Destiny Room (2013)

Anglo-German collective TWINS NATALIA captured a pristine technostalgic journey through a Europe of real life and postcard views on ‘The Destiny Room’. A wonderfully emotive soundtrack of elegance and decadence with a touch of neu romance, the collection’s main act began with the gorgeously arpeggiated ‘Destiny’.

Then there was the more frantic HI-NRG romp of ‘I Avoid Strangers’, while the PET SHOP BOYS styled neo-orchestrated statement of ‘Set Love Free’ climaxed like a pomped up ‘Rent’. As an appendix, there was also the superb debut single ‘When We Were Young’ b/w ‘Kleiner Satellit’ which first appeared in 2008. With rich, vibrant soloing from Dave Hewson on a Roland Jupiter 6 throughout, ‘The Destiny Room’ was perfect listening electronic music enthusiasts of a time when people actually played synths and explored the capabilities of their drum machines.

‘The Destiny Room’ is available as a download via iTunes via Anna Logue Records, CD and deluxe box set available at http://annaloguerecords.blogspot.de/p/releases.html

https://www.facebook.com/twinsnatalia


VILE ELECTRODES The future through a lens (2013)

Three years in the making, ‘The future through a lens’ was well worth the wait. While not as immediate as the tracks on the preceding three EPs made available for their German tour supporting OMD, the album itself took a more esoteric, filmic approach. Like ‘Twin Peaks’ meets ORBITAL, ‘Damaged Software’ was an enticing piece of electro while ‘Drowned Cities’ was an enticing entry point following the title track overture.

Both the pulsating ‘Proximity’ and the moody ‘Nothing’ grew with further listens. But with the closing ‘Deep Red’, it took all that was great about early OMD, putting ‘Statues’, ‘Stanlow’ and ‘The Romance Of The Telescope’ into a breathtaking seven and a half minute epic. This full length debut impressed enough for VILE ELECTRODES to snap up two Schallwelle awards in Germany for ‘Best International Album’ and ‘Best International Band’ in 2014.

‘The future through a lens’ is available as a download via Vile Electrodes, CD and cassette package available at http://vileelectrodes.bigcartel.com/

http://www.vileelectrodes.co.uk


WESTBAM Götterstrasse (2013)

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 magnificent launch single ‘You Need The Drugs’ voiced brilliantly by THE PSYCHEDLIC FURS’ Richard Butler was not actually a celebration of illicit substance use.

It was an album full of surprises like the dramatic ‘Kick It Like A Sensei’ with rapper LIL WAYNE and the tensely militaristic ‘Iron Music’ featuring the distinctive baritone of IGGY POP. Meanwhile, ‘She Wants’ saw the return of NEW ORDER’s Bernard Sumner on a new electronic dance composition and the frantic but serene ‘A Night to Remember’ with THE STRANGLERS’ Hugh Cornwall brought proceedings to a euphoric come down via some piano and Solina strings.

‘Götterstrasse’ is available as a CD and download via Warner Music

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


ANALOG ANGEL Trinity (2014)

The transformation of Glaswegians ANALOG ANGEL has been startling. Moving away from their industrial shackles, they came up with a largely excellent collection of quality synthpop in ‘Trinity’. ‘Drive’ was a haunting drama about domestic violence that was given extra poignancy by a ghostly guest vocal by Tracy J Cox.

There was also the frantic ERSAURE on Stella Artois of ‘The Chase’, the rousing schaffel stomp of ‘Round Again’ and the refined CAMOUFLAGE meets VANGELIS atmospheres of ‘Inner Voice’. But the biggest surprise was ‘The Last Time’, a cinematic masterpiece involving an orchestra that cascaded into an epic Pan-European journey across The Steppes. The virtual symphonic strings and gothic choirs gave an indication as to what OMD might have sounded like if Jim Steinman had been producing!

‘Trinity’ is available as a download, CD-R available via http://analog-angel.bandcamp.com/

http://analog-angel.com


IAMAMIWHOAMI Blue (2014)

iamamiwhoami;_BLUEAfter the promise of the ‘Bounty’ and ‘Kin’ collections, ‘Blue’ fully realised the potential of IAMAMIWHOAMI, the slightly bonkers moniker of delightfully odd vocalist Jonna Lee and producer Claes Björklund. Expanding on the audio / visual template of its predecessors, the first impression of ‘Blue’ is that it is more of the same. But like fine wine, this album gets better with age.

The windy breeze of glacial Scandinavian beauty immerses itself on tracks like the sub-COCTEAU TWINS ‘Fountain’, the ABBA-like ‘Chasing Kites’ and the closing reverberant mood piece ‘Shadowshow’. But it is the more uptempo danced based numbers like the mutant techno of ‘Ripple’ and the Kate Bush gone trance of ‘Hunting For Pearls’ that show the most advancement. Jonna Lee’s otherworldly rasp does polarise but once overcome, the sonic rewards can be startling.

‘Blue’ is available as a download via towhomitmayconcern, deluxe CD/book available at http://shop.towhomitmayconcern.cc/collections/releases/products/iamamiwhoami-blue-cd-book

http://www.towhomitmayconcern.cc/


RÖYKSOPP The Inevitable End (2014)

Royksopp-TheInevitable-artRÖYKSOPP’s final album took five years but it ultimately benefitted the outcome. ROBYN returned for a shorter, sharper version of ‘Monument’, but her thunder was stolen by some supreme vocal performances by SUSANNE SUNDFØR and Jamie McDermott from THE IRREPRESSIBLES. ‘Save Me’ and ‘Running to The Sea’ reinforced why the former is the Nordic vocalist of the moment, while the latter’s contributions to ‘You Know I Have To Go’ and ‘I Had This Thing’ showed how modern electronic dance music can be both vibrant and heartfelt.

Only the pointless profanity laden ‘Rong’, ironically featuring ROBYN, stopped ‘The Inevitable End’ from achieving perfection.

‘The Inevitable End’is available as a 2CD, 2LP and download via Dog Triumph / Cooking Vinyl

http://royksopp.com/


MIDGE URE Fragile (2014)

The ULTRAVOX reunion had a profound effect on the diminutive Mr Ure if nothing else and got him to fully focus on the solo album he’d been working on since 2001. The time that passed was worth it; songs like ‘Become’ recalled his work with VISAGE while the title track revealed that despite the moustache and long raincoat back in the day, he’d always wanted to be in PINK FLOYD.

Meanwhile, instrumentals such as ‘of ‘Wire & Wood’ and ‘Bridges’ showed that Ure’s music still has subtlety. But the undoubted highlight of ‘Fragile’ was ‘Dark, Dark Night’, a co-write with MOBY. The song built to an amazing climax with the follically challenged pairing forming a partnership made in heaven. Overall, the album was an impressive musical diary of a man pondering and confronting his post-midlife.

‘Fragile’ is available as a CD, LP and download via Hypertension Music

http://www.midgeure.co.uk/


Text by Chi Ming Lai
12th February 2015

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2014

wasp TEC

With a less intense release schedule than last year, it was a bit more straightforward to choose the songs of 2014.

Whereas 2013 had a short list of 45 songs, 2014 was closer to 35 although not the struggle to find 30 as was the case in 2012. So just missing out are CLIENT, KLEERUP and ToddTerje featuring Bryan Ferry, although not by much.

As usual, they are listed in alphabetical order and all have been released either in physical formats, or digitally as purchasable or free downloads during the calendar year. Thus although the excellent video for LIEBE’s ‘I Believe In You’ gained traction on MTV Europe in 2014, the song was actually released in 2013.

Tracks which are exclusive to streams, videos or DJ only promos are also not included; so QUIETER THAN SPIDERS ‘The Land Of Lost Content’ is not eligible. Limited to one song per artist moniker, here are the 30 Songs of 2014…


ANALOG ANGEL The Last Time

Analog Angel trinityThe transformation of Glaswegians ANALOG ANGEL in the last 18 months has been startling. From their third album ‘Trinity’, its closer ‘The Last Time’ was a big surprise, featuring a cinematic arrangement involving an orchestra cascading into an epic Pan-European journey heading eastwards. Recalling THE SISTERS OF MERCY’s ‘This Corrosion’, the virtual symphonic strings and gothic choirs gave an indication as to what OMD might have sounded like if Jim Steinman had been producing!

Available on the download album ‘Trinity’ via http://analog-angel.bandcamp.com/

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


MARGARET BERGER Scream

Margaret-Berget-Scream‘Scream’ launched Margaret Berger’s first album ‘New Religion’ since 2006’s ‘Pretty Scary Silver Fairy’ although as yet, the new opus has yet to emerge. The Norwegian Idol finalist effectively revived her career with ‘I Feed You My Love’ which came fourth in Eurovision 2013. ‘Scream’ saw her continuing the Robyn meets DEPECHE MODE template of her Eurovision smash and possessed an inherent industrialised darkness in an approach to quality pop that set itself apart.

Available as a download single via iTunes Norway through Macho Records

http://www.margaretberger.com/


CLAUDIA BRÜCKEN Nevermind

The original first lady of cinematic electronic pop surprised everyone when she appeared on the cover of her third album ‘Where Else…’ with a guitar strapped to her back. But while the record had a folk and blues influence, the synthesized textures that Ms Brücken has been best known for were still very much part of the package. The launch single ‘Nevermind’ could be seen as a musical reply to OMD’s ‘Stay With Me’. A lovely mix of electronics and acoustic, she appears to be driven by a new artistic zest.

Available on the album ‘Where Else…’ via Cherry Red Records

http://www.claudiabrucken.co.uk


DAVIDGE featuring EMI GREEN Sleepwalking

DAVIDGE SleepwalkingDAVIDGE is best known for his work with MASSIVE ATTACK and has been involved in game and film soundtracks for many years. His first solo album ‘Slo Light’ was an impressive debut, containing many of the elements that marked his work with the Bristolian triphoppers. ‘Sleepwalking’ was a haunting number beautifully voiced by Eim Green which recalled the ethereal quality of COCTEAU TWINS’ Elizabeth Fraser and the electronically assisted Weimer Cabaret of ‘Felt Mountain’ era GOLDFRAPP.

Available on the album ‘Slo Light’ via 7Hz Recordings

http://www.neildavidge.com/


ERASURE Be The One (Paul Humphreys Remix)

Following the disappointment of 2011’s FRANKMUSIK driven ‘Tomorrow’s World’, ‘The Violet Flame’ produced by Richard X saw ERASURE express an infectious zest for the future. The songs began with pre-recorded dance grooves from Vince Clarke as represented by the euphoric opening track ‘Dead Of Night’. The best number from the package turned out to be a ballad remixed by Paul Humphreys who added some of the beautiful Synth-Werk magic that characterised OMD’s ‘English Electric’ to ‘Be The One’.

Available on the boxed set edition of ‘The Violet Flame’ via Mute Artists / Pledge Music

http://www.erasureinfo.com


FEATHERS Wild Love

Released in time for their DEPECHE MODE support tour in Europe, ‘Wild Love’ was far more dance-oriented than anything FEATHERS attempted on their debut album ‘If All Now Here’. While a heavy beat dominated, the essential component of a song remained, building to a suitably epic chorus providing that euphoric lift. The gated trance elements in the second chorus were a particular highlight, especially when backed by a screeching falsetto counterpoint. But just as it got going, it faded out!

Available on the download EP ‘Only One’ via http://feathers.bandcamp.com/album/only-one

http://www.feathers.fm/


GAZELLE TWIN Exorcise

GAZELLE TWIN Unflesh artThe moniker of Elizabeth Bernholz, GAZELLE TWIN has acquired an impressive host of admirers including John Foxx, Gary Numan and Clint Mansell. Her second album ‘Unflesh’ has allowed the Brighton based songstress to extract her demons with some artistic violence. One of the highlights ‘Exorcise’ was an impressively aggressive cross between PINK FLOYD’s ‘One The Run’ and KRAFTWERK’s ‘Home Computer’. Its uneasy resonance was aided by Bernholz’s harsh, deadpan commentary.

Available on the album ‘Unflesh’ via Anti-Ghost Moon Ray

http://www.gazelletwin.com/


GIRL ONE & THE GREASE GUNS No Longer Spellbound

GIRLONE-no-longer-spellboundThis mysterious combo with their lo-fi noise and motorik beats have revealed a series of energetic singles over the past two years including ‘Jessica 6’, a frantic salvo sounding like THE PIPETTES fronting an OMD assisted JOY DIVISION. But GIRL ONE & THE GREASE GUNS revealed a much softer side with ‘No Longer Spellbound’. With its beautiful atmospheric quality smothered in icy synth strings and grainy vox samples, if ‘Twins Peaks’ had been set in The Lake District, then the theme tune might sound a like this.

Available on the download EP ‘No Longer Spellbound’ via Squirrel Records

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


HERCULES & LOVE AFFAIR feat JOHN GRANT I Try To Talk To You

Imagine Jim Morrison getting it on down at The Danceteria circa 1982! ‘I Try To Talk To You’ featuring the expansive baritone vocals of John Grant combined the best of classic New York electro disco and grand piano theatrics with an emotively soulful vocal. The courageous lyrics found Grant recalling when he discovered he was HIV positive. “I asked John to dig deep with his lyrical contribution” recalls HERCULES & LOVE AFFAIR mainman Andy Butler, “I had no idea he would dig so deep”.

Available on the album ‘The Feast Of The Broken Heart’ via Moshi Moshi

http://herculesandloveaffair.net/

http://johngrantmusic.com/


HUGH I Can’t Figure You Out

‘I Can’t Figure You Out’ sounds like another product of Scandinavia but in fact, HUGH hail from South London. The captivating, naive lead vocal from Izzy Brooks states “you know just how I feel” as she makes handle with care pleas like “don’t toy with me” and “careful with my heart” while the intensity builds like a pressure cooker. And this is all before a time signature change and some frustrating despair is released with her spirited jazzy refrain of “No, I can’t figure you out!” Now, who hasn’t been here before?

Available on the download EP ‘I Can’t Figure You Out’ via Hughlovehugh

http://hughmusic.co.uk/


IAMAMIWHOAMI Hunting For Pearls

IAMAMIWHOAMI, the electronic multimedia project fronted by Jonna Lee and produced by Claes Björklund returned with their second opus ‘Blue’. ‘Hunting For Pearls’ featured wonderfully pulsing sequences and trancey atmospheres, coupled with a beautifully rich vocal from Lee. With a mysterious falsetto reach, the air may be cold outside but inside, things are warm. If Kate Bush made a modern electronic dance record at ABBA’s Polar Studios, it would probably sound like this.

Available on the album ‘Blue’ via towhomitmayconcern

http://www.towhomitmayconcern.cc/


I AM SNOW ANGEL Let Me Go

Deep from within the Adirondack Mountains comes the beautifully gentle electronica of I AM SNOW ANGEL. The self-produced vehicle of singer / songwriter Julie Kathryn, the music evokes images of icy landscapes and crystalline hydro basins. The best track from her debut EP, ‘Let Me Go’ is rich in understatement and a Nordic styled tour de force swathed in melancholy, full of dreamy escapism. The full length album ‘Crocodile’ released in the Autumn did not disappoint either with its quietly subversive nature.

Available on the download EP ‘I Am Snow Angel’ via Amazon

http://iamsnowangel.com/


KID MOXIE Lacuna

With a breathier, more continental direction towards cinematic pop, The Kid effectively grew up with her second album ‘1888’. KID MOXIE’s widescreen soundscapes and dreamy demeanour saw a much more focussed work. ‘Lacuna’ means “an empty space” yet this song is filled with an enigmatic mystery as Elena Charbila applied some of the je nais se quoi first piloted on 2008’s ‘La Romance D’Hiver’ to the drifting, almost abstract electronic soundscape… and then there’s the pretty isolated piano ending!

Available on the download album ‘1888’ via Undo Records

http://www.facebook.com/kidmoxie


KLEERUP featuring SUSANNE SUNDFØR Let Me In

Having delivered one of the best synth based debut albums in recent years, any new Kleerup recording now lives with a high degree of expectation. ‘Let Me In’ featuring Susanne Sundfør, who voiced several tracks on RÖYKSOPP’s ‘The Inevitable End’ album, came over like Karin Park if she had joined latter day ROXY MUSIC. Retaining the original appeal of Kleerup’s debut, ‘Let Me In’ was brilliantly classic and yet modern with its more organic template and even funky template.

Available on the download EP ‘As If We Never Won’ via Warner Music

http://kleerup.net/


MACHINISTA Pushing The Angels Astray

MACHINISTA’s pairing of John Lindqwister and Richard Flow specialise in synthpop with a rock’n’roll edge. Their best offering from their debut album ‘Xenoglossy’ was the schaffel propelled ‘Pushing The Angels Astray’. Despite discussing the spectre of immortality, the sombre aura was balanced with a marvellous melodic line and fabulous chorus like ALPHAVILLE in their prime. The Nordic region continually shows how electronic music is done and many could do a lot worse than to observe how MACHINISTA go about their craft.

Available on the download album ‘Xenoglossy’ via Juggernaut Music Group

http://www.machinistamusic.com/


MARNIE Wolves

marnie_wolves_rsReleased in the week of the Scottish Independence Referendum, MARNIE’s ‘Wolves’ was an appropriately soaring anthem “for anyone that doesn’t believe in sticking with the status quo, for anyone who has the heart to try and make a difference”. Certainly, the positive response she received for her debut long player ‘Crystal World’ and a return to her homeland has no doubt inspired her own independence. But with MARNIE due to release a second solo album in 2015, what does this all mean for LADYTRON?

Available as a download single via Les Disques du Crépuscule

http://www.helenmarnie.com


METROLAND Thalys

thalys‘Trans Europe Express’ 21st Century style as Belgium’s favourite passengers METROLAND embarked on a maroon coloured rail journey through France and Germany via the Benelux basin on ‘Thalys’. The full length 11 minute version rhythmitised metal on metal while there were also London, Paris and Düsseldorf edits in this musical tie-in with the Thalys high speed train operator.

Available on the download EP ‘Thalys (London)’ via Alfa Matrix

http://www.metrolandmusic.com/


NIGHT CLUB She Wants To Play With Fire

Frisky vocalist Emily Kavanaugh and moody producer Mark Brooks began writing songs as NIGHT CLUB with the goal of creating dark – yet commercially accessible – synthpop. Developing on the Britney gone electro goth sound of their glorious 2013 single ‘Poisonous’, ‘She Wants To Play With Fire’ treaded on the darker, sleazy side of life and dysfunctional relationships with Kavanaugh out to take on her demented love rival.

Available on the download EP ‘Black Leather Heart’ via Gato Blanco

http://www.nightclubband.com


KARIN PARK Look What You’ve Done

KARIN PARK Look What You've DoneIssued as a trailer for her new album ‘Apocalypse Pop’, ‘Look What You’ve Done’ is a feisty development of ‘Restless’ from Karin Park’s previous album ‘Highwire Poetry’. Wrestling within a fiery glam schaffel and a catchy chorus like an angry GOLDFRAPP, with THE KNIFE venturing into more uncompromising climes, the ‘other’ Karin ably fills the void now left vacant by the Drejers in avant pop. ‘Look What You’ve Done’ is a fine example of the Swede’s ambition to fit into both pop and experimental worlds.

Available as a download single via State Of The Eye Recordings

http://www.karinpark.com/


PAWWS Give You Love

pawws-sugarWith LITTLE BOOTS having gone dance and LA ROUX veering away from synthpop, there is now a vacancy for a new kooky homegrown female synth talent. One of the possible candidates is PAWWS, otherwise known on her passport as Lucy Taylor. She has labelled her music “upsetting disco” and ‘Give You Love’ lives up to that description. Certainly those who prefer their music with rough edges and are averse to female fronted synthpop will have their touch paper lit even further with this exquisite pop number.

Available on the download EP ‘Sugar’ via Best Fit Recordings

https://www.pawwsmusic.co.uk


HANNAH PEEL Fabricstate

Since playing with John Foxx, Hannah Peel’s own music has used more electronics alongside her beloved violin, musicbox, piano and trombone. ‘Fabricstate’ starts as a beautiful understated number before being bolstered by an unexpected but amazing whirring synth solo around a series of percussive clusters. When the warmth of the synthesizer is exploited and coupled with a classically trained background, the hybrid can result in a quietly subversive organic and technological fusion.

Available on the download EP ‘Fabricstate’ via My Own Pleasure

http://www.hannahpeel.com


FIFI RONG Next Pursuit

One musician taking electronic music into some intriguing fusions is Beijing born Fifi Rong. ‘Next Pursuit’ crosses the vocal mystery of Kelli Ali and the quirkiness of MOLOKO while throwing in a touch of Lana Del Rey and MAZZY STAR too. Crucially, the intriguingly soulful ‘Next Pursuit’ also adds in rhythmical variation as the rhythms click into action during the higher register vocal refrains while the verses are held together with a smokey allure.

Available on the download EP ‘Next Pursuit’ via Ditto Music

http://www.fifirong.com


ROBYN & RÖYKSOPP Monument (The Inevitable End Version)

ROYKSOPP ROBYNEdited and rethought for ‘The Inevitable End’ album, ‘Monument’ was originally a spacey 10 minute epic now tightened to a more bite size and dare one say it, more enjoyable format sans saxophone over a hypnotic two chord structure. As usual, Robyn’s vocals are edgy and nonchalant while RÖYKSOPP’s electronic soundtrack ably hit the spot with its energized octave-jumping bassline.

Available on the album ‘The Inevitable End’ via Dog Triumph / Cooking Vinyl

http://royksopp.com/

http://robyn.com/


SIN COS TAN Love Sees No Colour

SIN COS TAN Love SeeWith their third album in as many years, Finnish duo SIN COS TAN went the concept album route for ‘Blown Away’, a midlife crisis story of a man who becomes a drug courier and goes on a journey of excess, fast money and hedonism. First single ‘Love Sees No Colour’ dressed NEW ORDER’s love technique in an OMD stylee with the result being a kaleidoscopic tune that managed to mix sunshine with melancholy.

Available on the album ‘Blown Away’ via Solina Records

http://sincostan.net/


SUSANNE SUNDFØR Fade Away

Susanne Sundfør - fade awayThe Nordic vocalist of the moment has to be Susanne Sundfør who has worked with M83 and Kleerup. But she is probably best known for her work with fellow Norwegians RÖYKSOPP. Propelled by a pulsing electronic backbone, ‘Fade Away’ from Sundfør’s forthcoming album ‘Ten Love Songs’ sees her in rousing form with a tune that at times sounds almost like Scandinavian gospel. Meanwhile, a fabulous synth solo gets thrown into the bargain too.

Available as a download single via Sonnet Sound / Kobalt

http://susannesundfor.com/


TRUST Peer Pressure

One act establishing themselves in 2014 were TRUST from Toronto. Led by the polarising “Eeyore gone goth” moodiness of Robert Alfons, the ironically titled ‘Joyland’ was a excellent second album that captured the sleazy nature of a 21st Century SOFT CELL and attached it to the grumpiness of LEONARD COHEN. ‘Peer Pressure’ was a frantic but funky uptempo number featuring Alfon’s trademark vocal pitch shift technique that proved misery and dancing could actually go together.

Available on the album ‘Joyland’ via Arts & Crafts

http://ttrustt.com/


TWINS NATALIA Set Love Free

Touchingly melancholic with classic Weimar Cabaret melodies and vibrant Kling Klang interplay, TWINS NATALIA conjured up memories of holiday romances with pretty German frauleins and flirty French mademoiselles. Debut long player ‘The Destiny Room’ was many years in the making and did not disappoint. With the PET SHOP BOYS styled neo-orchestrated statement of ‘Set Love Free’, the song theatrically climaxed like a pomped up ‘Rent’ as a wonderful slice of joie de vivre to finish the main act.

Available on the album ‘The Destiny Room’ via Anna Logue Records

http://twinsnatalia.blogspot.de/


MIDGE URE Dark, Dark Night

While the romantically uptempo ‘Become’ was inevitably the focal point of Midge Ure’s ‘Fragile’ album, there were other songs that were easily its equal. The most notable of these was ‘Dark, Dark Night’, an online collaboration with Moby. Though derived from ‘Rockets’ on Moby’s ‘Destroyed’ opus, Ure exploited the original’s rich symphonic string sounds and chilled vibes. Building to an amazing climax with melodic screeches and a tremendous guitar solo from Ure, this was a partnership made in heaven.

Available on the album ‘Fragile’ via Hypertension Music

http://www.midgeure.co.uk/


VILE ELECTRODES Pandora’s Box

VILE ELECTRODES Pandoras BoxVILE ELECTRODES capitalised on their profile from supporting OMD’s German tour in 2013 by snaring prestigious Schallwelle Awards for Best International Act and Best International Album for their debut ‘The future through a lens’. ‘Pandora’s Box’ was an excellent previously unreleased song full of wobbling analogue vigour that initially came with the lavish ‘Pack Of Wolves’ three CD package and set the scene for a much anticipated follow-up long player.

Available on the download EP ‘Empire Of Wolves’ via http://vileelectrodes.bandcamp.com/

https://www.facebook.com/vileelectrodes


WRANGLER Lava Land

WRANGLER’s manifesto is to harness “lost technology to make new themes for the modern world”. And their signature track is ‘Lava Land’, a superb cross between CABARET VOLTAIRE and prime ‘Metamatic’ era John Foxx but with a modern twist. Stephen Mallinder’s voice manipulations range from demonic gargoyle to stern drowning robot. The frantic pace is strangely danceable, but the mood is distinctly unsettling and dystopian when the screeching steam powered Logan string machine kicks in.

Available on the album ‘LA Spark’ via MemeTune

https://www.facebook.com/mallinderbengewinter


Text by Chi Ming Lai
Wasp photo by Chi Ming Lai
15th December 2014

Thalys: A Short Conversation with METROLAND

Thalys_Promo14

METROLAND are the Belgian conceptual duo with synthetic sounds from the ‘underground’.

Highly influenced by KOMPUTER and KRAFTWERK, although the capital letter ‘K’ is highly resonant in their sound, METROLAND are perhaps more textural.

They are like a ride through an electronic landscape, layered with authentic warm sequences, robotic vocals and uniquely vintage drum machines, all designed for the commuter world.

Their version of IGGY POP’s ‘The Passenger’ has to be heard to be believed and such has been the quality of tracks like ‘It’s More Fun to Commute’, ‘Enjoying The View’, ‘Harry Beck’ and ‘2013’, several unscrupulous eBay dealers in Russia were passing off CD-Rs of three tracks from the debut long player ‘Mind The Gap’ as KRAFTWERK demos in 2013! Meanwhile, METROLAND were invited to work their technological magic on well received remixes for OMD, MARSHEAUX and RUSTY EGAN.

METROLAND have now returned with their Kling Klang flavoured Technopop courtesy of the multi-formatted single ‘Thalys’, a tie-in with the European high speed train operator. Passengers S and A kindly spoke to ELECTRICITYCLUB.CO.UK about their upcoming railway journey…

Thalys_Promo04

You supported OMD on the Benelux leg of their ‘English Electric’ tour, how was that for you?

Imagine that a local priest gets an invitation from the Pope to do a service in Vatican City. Well, it mostly felt like this. Everything fitted so well.

Andy McCluskey was browsing for information on ‘Metroland’ one evening whilst travelling homewards on the train and he stumbled across our material and instantly liked it due to the KRAFTWERK touch. He got in touch via e-mail and the funniest part was that in his correspondence, he mentioned his band ORCHESTRAL MANOEUVRES IN THE DARK, as if we never heard from them.

How modest can you be? Here we have gotten an e-mail from a man, who wrote himself into history several times, and that is precisely who Andy is: an amazing person to whom we looked up during our childhood (and we still do), who gave us hours and hours of listening pleasure and then, one day, you get to meet him in person and support that ‘band’ we never heard of 🙂

A highlight in our career, no doubt… proud we had that opportunity!

Thalys_Promo02

Last time we spoke, you had just completed your rework of OMD’s ‘Metroland’. They must have liked what you did because they asked you to do another of ‘Night Café’ which many consider to be even better?

When we played together in Brussels, we talked about loads of things, amongst which we talked about the new single to come… by that time ‘Dresden’ was the presented single and the outside world was not aware yet that ‘Night Café’ would become number three.

Of course we also discussed the ‘Metroland’ remix, how we got to do it and especially that it took over 50 hours in total to do the final mix down. But Andy was most happy about the fact we did not butcher the song to death, making it something that was unrecognizable. He stated that it was an OMD song with a different approach, and it was precisely that what made him give us a second opportunity.

The very next day, we were already in touch with the friendly people at 100% Records, who also were happy with the results. We noticed that the ‘Night Café’ remix was doing well on Soundcloud and in particular on Youtube. Passenger H boosted the remix into a much higher region by creating two ex-tre-me-ly nice videos.

Your remix for RUSTY EGAN of ‘Dreamer’ has had a very positive response as well

So far we did indeed only read nice reviews, so we hope that when it gets released, more people will find their way to METROLAND. The funny thing about this remix is that RUSTY EGAN himself is truly fond of our remixes…even so, we stumbled across tweets and messages in which he asked if there is a METROLAND mix available. So kind and warm of him 🙂

But 2013 was killing us on the remix part, we actually did nothing else but creating ‘versions’ for other people. You should know that we quite often integrate new sequences, sounds, melodies, bass sequences into our remixes and we repeatedly felt that we were only making music to give away. So we decided to stop doing remixes until we finished our own material, ‘Thalys’ included, as this was a monstrous project in every sense of the word.

Thalys_Promo01

Talking of dreaming, who would be your dream artists be to remix?

There is only one which we both have high in our lists, and that is ORBITAL. Next to that, we have ERASURE, CHVRCHES… quite some 🙂

We would also love to do MARSHEAUX again, as we feel we did not do so well with ‘Can You Stop Me?’.

That remix was our first one we made as METROLAND, and we did not want to go too far and next to that, f*cking up songs from such a top-top-top-top and even over-the-top good band… we were too modest and too shy at the time… regarding making a remix that is, we’re always modest and shy 😉

2013 was an interesting year for METROLAND as your songs were being bootlegged and passed off as new KRAFTWERK demos…what were your feelings about that?

We still don’t know if we should take this as a compliment or not. On one side, it is a true shame this has happened for sure, especially when our songs where regarded as only demos.

“Are our songs nothing more than demos?” we kept asking ourselves. Looking at it differently, it is amazing that people would then think that our songs could have been from the godfathers of electronic music.

Now, there was some buzz about it, but not that much….we only got an invitation from Ralf H to come over for tea, as he liked our music a lot and he wanted some tips… but we kept that as a secret 😉

What did you think of KARL BARTOS’ new album ‘Off The Record’?

Passenger S loves it, typical Kraftwerkian material with these lovely melodies… wow! Passenger A is a bit more critical and only found it so-so. It is just a matter of taste, and that cannot be discussed. We saw him live in Brussels, and that was a stunning good show. It is good to see that someone continues the real KRAFTWERK spirit. Not a lot of material since 2003 from the godfathers…

Thalys_Promo15

So what is the concept behind the new single ‘Thalys’?

A train, that’s the simplest answer we can come up with 🙂

The story behind it is something else. When we had ‘Mind The Gap’ out into the open, we got a lot of reactions like “nice concept, but how long can a band continue with that?”...

True, but do we need to continue with underground and transportation themes? No, we don’t… but still, there were some things that we felt were not completed, and it was one day that we texted a message to each other saying “a song about a train”… ok, eh… crazy lads…

And so we had an arrangement about ‘The Elephant’ (due to the fact it is linked to Belgium), but it stayed an arrangement. Some weeks later, we had a new 6-second melody… and months later it ended up being a song lasting more than 11 minutes. We felt fascinated by the Thalys trains immediately. OK, they are normal high speed trains, but the typical colour makes them so unique.

Whilst we had the idea growing slowly in between all the remixes and the OMD support, we picked it up several times and continued working on the song at a very, very, very, slow, slow pace… at a certain moment, we decided to involve the Thalys company as we saw this ‘concept’ was growing bigger and bigger. This means that at this very moment, we are writing history, as no band ever before us has written a song about Thalys, and so we hope that our name will be linked to these burgundy red trains for as long as they exist 🙂

You have gone on a multi-format extravaganza with this release?

Seeing our ages and background, and our sources of inspiration, there is one name that should instantly pop-up and this would be Mute. We are so truly fond of their marketing approach that we always wanted to do something similar. This made us propose to our label Alfa Matrix and ask if they would allow us to release a 12 inch vinyl (and not an album). Strangely enough, they went all the way with this (again) crazy idea.

The management at Alfa Matrix have been close friends from us for over 20 years now and they know that when we have an attitude towards our ideas, that we go for the full 150% to make it happen. Yes, it was a crazy ride with quite some obstacles to be where we are, but we made it 🙂

On top of this, we decided to go vintage all the way and created a cassette tape (how 80s can you get, right?) to accompany the vinyl. Of course, the label had their say and marketing-wise, they wanted to add a CD to the vinyl for the fans. So they have not yet turned totally grey or bald and have their ‘modern’ (but nearly outdated as well) digital medium 😉

Next to this we went one step further and thought, with a blink to the past, “why not create several versions in a different language?”. Thus we created a radio edit of the 11 minute-song in English, called the ‘London edit’ (which can be downloaded in regions where they don’t speak French or German) and a ‘Düsseldorf edit’ for the German speaking countries and a Paris edit…you can guess the rest.

Let’s not forget that we also have three totally blasting remixes so you will have loads of ear candy to enjoy! Did we also mention that every medium has exclusive versions ? Yep… again the Mute way of thinking. But it has been quite stressy getting this together, so ‘Thalys’ will just be a unique fact and happening 🙂

Thalys_Promo08

Where do you think METROLAND will be heading for the next album?

We do have at the moment of taking this interview, 16 tracks ready for musical review. In other words, the arrangements have turned into demo songs, and these demos turned into unbalanced songs and we need to put the dots on the i’s.

After this focussed time consuming (not to mention good beer too) job, it is time to do the production mixdown, making sure everything is in balance and off it goes to the mastering. Then all files will head over to the pressing plant where the complete concept will take shape too. For the central theme and concept for this next album, we will be musically travelling to Germany, but it will be something that no-one will expect, truly not 🙂

The style of music is a little darker and harsher than on ‘Mind The Gap’ which was at times mellow while still having a sort of tristesse drenched in electronics. The new album has a different tone of darkness and synthetic sounds. We never experiment, we always go for the up tempo sequences and bass lines… so no need to worry yet 😉

What would be the perfect location for one of your live presentations?

The Transport Museum in London, the one place we would love to go and present our audio-visual experience (we prefer not to call it a live performance). And of course the Hammersmith Odeon in London. Can someone make this happen? 🙂


ELECTRICITYCLUB.CO.UK gives its warmest thanks to METROLAND

‘Thalys’ is released by Alfa Matrix in a 12” vinyl / CD / cassette bundle package and three territorial download EP formats, further information at http://www.alfa-matrix.com/bio-metroland.php

http://www.metrolandmusic.com/

https://www.facebook.com/metrolandmusic

http://soundcloud.com/metroland


Text and Interview by Chi Ming Lai
Photos by Kristel Nijskens BE
30th August 2014

OMD Night Café

omd-night-cafe-cd_med

Love and violence, suicide and murder… just a normal day in the office for OMD and it always has been!

Having released their best album for 30 years with ‘English Electric’ in April, OMD continue the promotional campaign with one of its key tracks ‘Night Café’.

Originally demoed under the working title of ‘Hopper’ after the American realist painter Edward Hopper, the track lyrically references a number of his works in a song which despite its major key template and beautiful melody, resonates with some darker themes.

Reflecting this is the controversial accompanying video which takes a subversively macabre approach. Like Edward Hopper directing ‘South Park’, the adult themes which include casual sex, cross-species coitus, suicide, gang violence and murder have provoked a plethora of complaints. One comment just went “Rubbish video. Created by juveniles for juveniles”.

But paradoxically on its suitability for viewing by minors, one observer argued “when I sit down to watch South Park of an evening, I’m expecting a sick and tasteless cartoon. When I sit down to watch an OMD video with my 5 year old on a Friday morning, I’m not” while another said “Being an animation doesn’t make the content any less ‘disturbing’ (though I’d use the word tasteless instead) than live action. I guess it’s fine for people who think South Park, Beavis & Butthead, Keith Lemon etc are suitable for a mass audience including younger folk. I don’t find any of them funny, mainly because toilet humour isn’t clever. I’m glad I’m not the only one who thinks it’s a bit naff and not worthy of OMD”.

Many of these comments are surprising; OMD’s music has always explored the not necessarily pleasant side of the human condition. Indeed, on ‘International’ from 1983’s ‘Dazzle Ships’, the emotive track began with a news broadcast that announced: “The Youth Anti-Imperialist Tribune was also addressed by a young girl from Nicaragua whose hands had been cut off at the wrists by the former Somoza guards…”

Meanwhile, other lyrical gists in OMD songs between 1980-1993 have included the suicide of a charismatic musician, the suicide of a woman who worked as a stripper because she had no other means of supporting herself, the racially motivated massacre of five innocent demonstrators by the Ku Klux Klan, the death of over 100,000 people by nuclear attack and most notably on two hit singles, the brutal execution of a teenage girl!

In support of the video, VILE ELECTRODES’ Martin Swan said: “It reminds me of some of my favourite animations (ie Monkey Dust) and captures the darker undercurrent of the lyrics that some people seem to completely miss… ‘a voyeur in a high window…’, ‘dying like I used to do…’ etc”.

In response to the negative criticisms, Swan also retorted: “Fine, if you don’t like it, you’re entitled to your opinion, but some people seem to find it extremely disturbing because it’s an animation exploring adult themes. In what century do you live? Why are you complaining it’s not suitable for your kids? IT’S NOT MEANT FOR YOUR KIDS! It’s not f**king CBeebies!”.

Meanwhile, VILE ELECTRODES themselves have been the target of many a vented spleen, courtesy of their unsettling ‘B-Side The C-side’ reworking of ‘Night Café’.

A very alternative take on the song, it was inspired by OMD’s inventive experimental B-sides of the past such as ‘Navigation’, ‘Annex’ and ‘I Betray My Friends’.

VILE ELECTRODES were invited to support OMD on their German tour after Andy McCluskey spotted them on ELECTRICITYCLUB.CO.UK; but the ‘Night Café’ remix roll of honour features not one, or even two but THREE acts that have been championed by ELECTRICITYCLUB.CO.UK

Finnish duo SIN COS TAN, who recorded one of the best songs of 2012 in ‘Trust’, have provided a Nordic electro disco reinterpretation of ‘Night Café’while fresh from the success of their ‘Metroland’ remix, the appropriately named Belgian duo METROLAND have been invited back to work their crisp mechanised magic on the Nighthawks Remix.

Also featuring on the EP are previously issued B-sides ‘The Great White Silence’ and ‘No Man’s Land’ which both premiere in physical CD format plus the unreleased McCluskey/Humphreys duet ‘Kill Me’.

All intended for ‘English Electric’ and structured in slow waltz time with particularly emotionally raw vocals by Andy McCluskey on ‘No Man’s Land’, their inclusion on the album would have almost certainly brought a halt to the seamless journey so painstakingly crafted by Paul Humphreys. This also would have made ‘English Electric’ far too long but despite pressure from within, Mr Humphreys stood his ground and told ELECTRICITYCLUB.CO.UK that in the end, “quality over quantity” won through.

More interesting though as bonuses are ‘Time Burns’ and ‘Frontline’ the former initially appeared on the limited edition ‘The Future Will Be Silent’ 10 inch picture disc, while the latter was from the flip of the ‘Our System’ 7 inch electric blue vinyl single included in the ‘English Electric’ luxury tin boxed set.

Musically, both are sample based collage experiments inspired by world events and very much in keeping with the ‘English Electric’ original vision of “what does the future sound like?”

But as the duo found with ‘Dazzle Ships’, too many abstract tracks on what, to all intents and purposes, is a pop record can confuse listeners. However, ‘Time Burns’ would have made a fitting alternative to ‘Decimal’ and the intense artistic soul searching that must have gone on when the final tracklisting was decided upon can only be imagined.

B-sides and bonus songs are always an interesting appendix to envisage the possible directions an album could have taken. It is a testament to Paul Humphreys and Andy McCluskey that while approaching their mid-50s, they both had the creative drive and emotional resolve to pool such an embarrassment of riches to fully realise ‘English Electric’.


The ‘Night Café’ 10  track EP featuring remixes by VILE ELECTRODES, METROLAND and SIN COS TAN plus the ‘English Electric’ B-sides is released on 16th September 2013 as a CD and download by BMG Records

www.omd.uk.com

www.vileelectrodes.co.uk

www.facebook.com/homeofsincostan

www.metrolandmusic.com/


Text by Chi Ming Lai
14th September 2013

RUSTY EGAN Speaks Out


There is a new VISAGE album but the majority of its founder members have not been involved.

John McGeoch passed away in 2004 and although Barry Adamson played on the first two albums, he gave up his equity in the collective after the first single ‘Tar’.

Whilst Dave Formula has contributed one song ‘Dairies Of A Madman’, ULTRAVOX members Midge Ure and Billy Currie did not participate.

The collective’s original catalyst Rusty Egan did take part in the initial stages as musical director of the project, but withdrew due to artistic differences and disagreements over production values.

Then in November 2012,  Steve Strange announced on German TV that he was writing songs with Midge Ure which proved to be incorrect while various sources reported on the fallout to confirm that all was not well.

Thus Steve Strange is the only ingredient from the original Blitz Club days who appears throughout the resultant album entitled ‘Hearts & Knives’. Although there are guest appearances by notable players from the scene such as ex-ULTRAVOX guitarist Robin Simon and ex-SIMPLE MINDS keyboardist Mick MacNeil, this album to many ears is not a real VISAGE album.

Rusty Egan spoke to ELECTRICITYCLUB.CO.UK about the background of ‘Hearts & Knives’ and how he intends to pursue his own musical interests in the future…

How did the idea for a new VISAGE album come about?

I was consulted about the possibility of a new VISAGE album on the basis that royalties due to me, the estate of John McGeoch and to Dave Formula had been misappropriated by Steve Strange over a period of eight years.

The proposition was that the only way to recover the misappropriated royalties was to produce a fourth VISAGE album and pay Steve Strange a reduced royalty share until the misappropriated funds were restored. I was only willing to be involved in the production of an album that would do credit to the heritage of VISAGE. I spoke with all the members to establish their willingness to reform which was a tough call, and one by one they all declined.

So what did you do then?

I then thought “If I was going to form VISAGE today, who would I invite?” I talked with Chris Payne who co-wrote ‘Fade To Grey’ for writing and keyboards, SPANDAU BALLET’s Steve Norman for sax and percussion, ex-ULTRAVOX guiarist Robin Simon, Didier Marouani of SPACE and as producer, Brian Tench who had worked with KATE BUSH and OMD as well as VISAGE.

But some might say your concept for a new VISAGE is no more valid than this solo Steve Strange version?

Of course, a VISAGE album without a contribution from Midge would be crazy. When the team started to come together, Midge kindly offered a song called ‘Become’.

But early in the production cycle, it became clear to me that the company who were funding the production had no intention of meeting my production values nor matching the quality of the team that I had pulled together with an album that would show them or the VISAGE heritage in a good light.

So why is ‘Hearts & Knives’ not a VISAGE album then in your opinion?

Midge Ure and I alone came up with the concept for VISAGE. That is a matter of historical fact. VISAGE was and is our intellectual and emotional property.

The album has been produced and released without the consent of Midge or myself.

‘Hearts & Knives’ I presume alludes to love and death. Well I loved VISAGE, but this album is the death of everything that VISAGE represented. This collection of songs/music does not represent the heritage and musical values of VISAGE. It is a Steve Strange album. I believe that no-one would be interested in a Steve Strange album so using the name VISAGE is the only way to market the album.

So what have you thought about the end result?

Given this background, I have really struggled to be impartial about this album. ‘Lost In Static’ is the only track on the album that actually works, just because it’s simple. It has a decent drum and bass track. There’s one song ‘Never Enough’ which was very SIMPLE MINDS; but it could be good if we worked on the lyrics, got some great guitar and pumped that bass… the final version sounds like a home recording that was submitted as a demo. The production company has only added some guitars.

‘Shameless Fashion’ is OK but does not sound like VISAGE. ‘She’s Electric’ is also OK but nothing special; the ‘Fade To Grey’ CR78 drum track has been copied as an intro. The thin drums once again sound like a demo as if the producer has said “We’ll do the drums later” but never got around to it. I hate the vocal delays.

‘Diaries Of A Madman’ is the only song written by Steve and he had recorded it a few years ago with Dave Formula.

‘Dreamer I Know’ appears to have some potential…

That song is the one that I am most upset about. I met Arno Carstens at the Isle Of Wight Music Festival after I saw his performance. I just had to ask him about this song, he said it had been released but without any great take up. “I love it” I said, “It is like DEPECHE MODE, can I use it for VISAGE but make some changes?” Arno said “Sure, just do it and let me hear it”. I hope he does NOT EVER hear this VISAGE version… I had nothing to do with it. I have done this song the justice it deserves.


So what are you going to do music wise?

I have continued to write with Chris Payne and an amazing writer Gerard O’ Connell who co-wrote ‘Welcome To The Dancefloor’. We have done an amazing job on ‘Dreamer’; Youth co-wrote that with Arno, I have to say the mixes are simply wonderful. I have six more amazing songs co-written with Chris Payne and other songwriters. Didier plays his style keys, Steve Norman plays some nice sax which is very ROXY MUSIC.

Now I must say I am so much more content now to just do ‘Rusty Egan Presents…’ and release some tracks AFTER this album has gone away.

You’ve previewed ‘Welcome To The Dancefloor’ which is like GIORGIO MORODER meets DAFT PUNK…

Well, collaboration is really the way forward. Robin, Gerard , Didier, Brian Tench… there are many talented people I come across. If you listen to the radio show there are some amazing new bands that I would love to work with; SIN COS TAN really do it for me, METROLAND and KARIN PARK too.

‘Welcome To The Dancefloor’ is an example of how I have always worked. There was this amazing bassline with synth stabs that grabbed me, but what I could hear was an electro style uplifting track and I wrote this on the roof of the villa in Ibiza… I just looked and thought “Welcome To The Dancefloor of THE WORLD”. It’s here and as a DJ, I am and always was inspired in Ibiza and will head there again this summer and write some more… we wrote that track and recorded it very simply and then sent it to Robin Skouteris who did the final mixes.

I first came across Robin when I heard his amazing ‘Wonderful’ mix featuring HURTS. We just clicked and he did exactly what I wanted with the finished mixes… we are working on every track together first, then some friends want to remix. We are speaking with Paul Oakenfold, Richard Grey, Michael Gray and Tim Overdijk. And I’m excited to be in contact with METROLAND.

Although you did the deep backing vocals on VISAGE songs like ‘Fade to Grey’ and ‘Night Train’, you’re not known for singing. So will all the songs be vocodered like ‘Welcome To The Dancefloor’ or do you have other plans?

I always did backing vocals on everything and I sung ‘Dancefloor’ then got Gerard to do it pre-vocoder.

On ‘Night Train’, I do the whole answer verses and on all my current stuff, I just sing it badly and then Gerard does it better.

I could sing it but it would be in the Bowie/ Iggy low baritone and I love that style but I am not a frontman. I would love VIKTORIA MODESTA rather than me.

Once I have the songs recorded… well, all I can do is make some calls and hope people like them. I would just love KARIN PARK to sing on them, I have two songs that I know would suit her and also Theo from HURTS or the guys in MIRRORS. There are so many perfect singers out there.

So now I just want to get the songs and the music right, the only good sign I have is that when I ask people to work with me, they hear the simple music and say “YES I love it, let’s do it” … that is the way I know I am doing something right.


Are there any other plans for the project?

I hope to play drums with RRussell Bell and Chris Payne in DRAMATIS so I hope there is a need for RRussell’s guitar…

I have Robin Simon playing on one song and it’s perfect, he just sounds like the Robin of the ‘Systems Of Romance’ era.

How are you finding doing the radio shows?

I say “Less Talk, More Music” as I really think ELECTRICITYCLUB.CO.UK is about the NEW MUSIC and the inspired classics. I am just the link… people love the tracks I select and that’s always been the case. I find bands / songs / music and say “I love this”… success!

It may take a year or four albums like with SIMPLE MINDS and ULTRAVOX but I can hear it, first time… and my track listings will show that we have found great talent; it may take time… but it’s QUALITY!


ELECTRICITYCLUB.CO.UK gives its warmest thanks to Rusty Egan

https://rustyegan.com/

http://www.facebook.com/djRustyEgan

http://rustyegan.blogspot.co.uk/

https://soundcloud.com/rusty-egan

https://twitter.com/DJRustyEgan


Text and Interview by Chi Ming Lai
29th May 2013

« Older posts Newer posts »