A fine line-up of electronic acts was assembled at Camden’s Dublin Castle for a Trans-Atlantic showcase of the best in modern synthpop.
And when the line-up is right, the luminaries come along and join in the fun.
With key figures such as Rusty Egan and Sarah Blackwood in the audience, this was a very well-attended event for a mid-Autumn school night.
Fresh from playing a prestigious slot at Düsseldorf’s ELECTRI_CITY Conference on Halloween and getting to visit the original Klingklang as their just reward, VILE ELECTRODES previewed a lot of new material from their long awaited and now titled second album ‘In The Shadows Of Monuments’.
Some might consider the album title pretentious, but it is this avant pop approach reminiscent of early OMD that sets VILE ELECTRODES apart from the competition and makes them so captivating. One immediate stand-out was the dark, throbbing arpeggio laden ‘As We Turn To Rust’ which appeared to take its lead from DEPECHE MODE’s ‘Oh Well’.
There was also ‘The Vanished Past’, a potent successor to ‘Deep Red’, complete with a mighty drum cacophony à la OMD’s ‘Navigation’. It was a continuing indicator that Anais Neon and Martin Swan are still on the inventive but accessible path that has already led them to two Schallwelle Awards in Germany. VILE ELECTRODES really would be the ideal opening act for OMD’s upcoming ’Dazzle Ships’ / ‘Architecture & Morality’ boutique showcase at the Royal Albert Hall in May 2016.
NIGHT CLUB are unashamedly fans of Britney Spears, hence their marvellous Britney Gone Emo sound. With the visual demeanour of a rock band, Mark Brooks came over mean and moody as he stood behind his workstation, while singer Emily Kavanaugh was a bundle of feisty energy.
Starting with the bass driven attack of ‘She Wants To Play With Fire’ from 2014’s ‘Black Leather Heart’ EP, this was a determined performance despite some persistent laptop glitches between songs.
There was the welcome inclusion of NIGHT CLUB’s calling card ‘Poisonous’ from ‘Love Casualty’, the EURYTHMICS influenced template displaying the seedy edge that has always permeated within NIGHT CLUB’s poptastic tendencies; it’s a hybrid format which Kavanagh has previously described as what would happen “If Depeche Mode f*cked Britney Spears and had a baby who hung out in dark corners of seedy clubs…”
NIGHT CLUB showed their versatility with the ballad ‘Not In Love’, a song that easily could have merited inclusion in a Brat Pack movie back in the day. But it was all back to dancing with the octave propelled ‘Strobe Light’ which was dedicated to Rusty Egan, while THE WHITE STRIPES ‘Seven Nation Army’ gone electro of ‘Give Yourself Up’ hypnotised an enthusiastic crowd as Kavanaugh threw herself into the audience and friskily teased those present.
The couple’s cover of INXS’ ‘Need You Tonight’ got a warm reception, providing yet another excellent example of why electronic acts should generally only tackle reinterpretations outside of genre to guarantee a unique selling point. The best was saved until last with the magnificent Electroclash pulse of ‘Cruel Devotion’; complete with a dedication to ELECTRICITYCLUB.CO.UK, it concluded a fabulously sweaty evening of quality electronic music.
The rising trajectory NIGHT CLUB find themselves in, thanks to the ‘Black Leather Heart’ EP and the ‘Moonbeam City’ soundtrack, means expectations will be high for their next release, whatever form it eventually takes, be it EP or album.
But with their positive attitude and ability to a procure a real performance, this should be no problem at all for them 🙂
NIGHT CLUB’s ‘Moonbeam City (Original Series Soundtrack)’ is released by Milan Records and available digitally and on CD. The duo’s three EPs are available at http://nightclubband.com/
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
The 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!
‘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
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
DAVIDGE 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
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
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!
The 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
This 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
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
‘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
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
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
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
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
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
Released 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
‘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
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
Issued 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
With 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
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
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
ROBYN & RÖYKSOPP Monument (The Inevitable End Version)
Edited 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
With 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
The 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
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
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
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
VILE 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.
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.
With 2013 having been one of the strongest years in electronic pop since its post-punk heyday, 2014 was always going to struggle to compete,
This was despite it being the 50th Anniversary of the Moog synthesizer’s first prototype demonstration at the Audio Engineering Society convention in October 1964. While 2014 was nowhere near in terms of the high profile releases of 2013 or even 2011, it certainly surpassed the comparatively quiet year of 2012. But there were still a lot of live shows as momentum continued in support of the previous year’s releases with NINE INCH NAILS, DEPECHE MODE, CHVRCHES, FEATHERS, GOLDFRAPP, COVENANT, SOFT METALS and Gary Numan among those doing the rounds.
Electronic pioneer Karl Bartos began the year with his first concert tour since 2003 in Germany. His ‘Off the Record’ live presentation highlighted the best of his KRAFTWERK co-compositions alongside excellent new material. Coincidentally, on the same night Herr Bartos opened in Cologne, Ralf Hütter picked up a Lifetime Achievement Grammy on behalf of KRAFTWERK, thus finally validating electronic music in the traditionally synthphobic territory of the USA. And by the end of the year, there was even a belated nomination for The Rock ‘N’ Roll Hall Of Fame.
Staying in Germany, cult trio CAMOUFLAGE celebrated over 30 years in the business with a lavish package ‘The Box 1983-2013’ and a best of CD ‘The Singles’. Claudia Brücken though surprised everyone by strapping on an acoustic guitar for her third solo album ‘Where Else?’, but its mix of electronics and six string proved to be well received by her fans.
And on the subject of Germanic influences, Belgian duo METROLAND returned with their Kling Klang flavoured technopop courtesy of the multi-formatted single ‘Thalys’, a tie-in with the European high speed train operator and a rather original cover of ‘Close To Me’ for ‘A Strange Play – An Alfa Matrix Tribute To THE CURE’. Meanwhile, iEUROPEAN teamed up with Wolfgang Flür for some ‘Activity Of Sound’. Flür himself delighted KRAFTWERK fans by announcing he would be playing London gigs in the New Year.
MemeTune Studio in London’s trendy Shoreditch proved to be a hotbed of electronic activity throughout 2014. Already the location for the largest array of vintage synthesizers in the UK, from the complex emerged fabulous music from the likes of Hannah Peel, GAZELLE TWIN and WRANGLER featuring ex-CABARET VOLTAIRE frontman Stephen Mallinder. MemeTune even found time to curate its own live event ‘MUS_IIC.01’.
Well known for his connections with that stable, John Foxx came back from a break (by his recent prolific standards) with the audio / visual collaboration ‘Evidence Of Time Travel’ in partnership with Steve D’Agostino.
Other Synth Britannia stalwarts were in action too. OMD celebrated their ‘Dazzle Ships’ era with a pair of concerts at the Museum Of Liverpool and SIMPLE MINDS continued their grandiose demeanour with ‘Big Music’. Meanwhile, Midge Ure released a fine collection of songs entitled ‘Fragile’, his first of original solo material in 12 years; it also featured a great collaboration with Moby entitled ‘Dark Dark Night’. As well as that, he worked on a track with Dutch composer Stephen Emmer for an orchestral laden crooner album called ‘International Blue’ which additionally featured his pal Glenn Gregory.
Mr Gregory wasn’t idle either, recording ‘Pray’ b/w ‘Illumination’, HEAVEN 17’s first new material since 2005’s Before After’. He even found time to impersonate David Bowie for some special live shows performing ‘The Man Who Sold The World’ with Tony Visconti and Woody Woodmansey as HOLY HOLY. And to cap it all, HEAVEN 17 presented ‘The Tour Of Synthetic Delights’ with BLANCMANGE, proving that heritage events could be both nostalgic and credible if the line-up was right.
After last year’s seasonal offering ‘Snow Globe’, ERASURE made a full return in 2014 with ‘The Violet Flame’, the marriage of Andy Bell and Vince Clarke showcasing their best work since 2005’s ‘Nightbird’. Interestingly, ‘The Violet Flame’ was launched via the crowdfunding platform Pledge Music, although this appeared to be more as a promotional tool and fan networking opportunity. CHINA CRISIS went the Pledge Music route too, announcing their first album in 20 years entitled ‘Autumn In the Neighbourhood’ while also crowdfunded, YELLO’s Boris Blank delivered ‘Electrified’, a solo box set of unreleased material.
Not to be outdone, his YELLO bandmate Dieter Meier responded with his grouchy solo offering ‘Out Of Chaos’ which appeared to be a tribute to Tom Waits. And unexpectedly on the back of ‘Don’t You Want Me?’ becoming a terrace chant for Aberdeen FC’s Scottish League Cup victory, ex-HUMAN LEAGUE member Jo Callis launched a new project called FINGER HALO.
The enduring legacy of many of these veterans was celebrated in ‘Mad World: An Oral History of the New Wave Artists and Songs That Defined the 1980s’, possibly the best book of its kind about that musical era which the Americans like to refer to as New Wave. Featuring brand new interviews with key protagonists like OMD, NEW ORDER, DURAN DURAN, YAZOO, ULTRAVOX, A-HA and HEAVEN 17, it was a high quality publication that made up for some previously clumsy attempts by others at documenting the period. Also a good read was Bernard Sumner’s memoirs ‘Chapter and Verse’ which covered his career to date with JOY DIVISION and NEW ORDER.
Coincidentally, Mark Reeder, the man often credited with introducing electronic dance music to Sumner, had a career spanning compendium called ‘Collaborator’ issued containing his earlier work as a member SHARK VEGAS, right up to his more recent remixes of DURAN DURAN’s John Taylor and Sumner’s various projects with BLANK & JONES and WESTBAM.
It was a particularly active year for the industrial scene; AESTHETIC PERFECTION toured Europe with their more accessible but still aggressive ‘Til Death’ opus while ASSEMBLAGE 23 frontman Tom Shear continued developing his SURVEILLANCE side project with ‘Oceania Remixed’. Swedish trio LEGEND gained acclaim for their live performances in support of their debut album ‘Fearless’, Texan duo IRIS released a new album ‘Radiant’ and DIE KRUPPS blasted their way into the South East of England for their first UK dates since 2008.
In more contemporary circles, LA ROUX finally released a second album, appropriately named ‘Trouble In Paradise’. Singer Elly Jackson had split with silent partner Ben Langmaid due to good old fashioned musical differences and as expected, the songs were less synthpoppy than the self-titled debut. Reaching for more disco orientated leanings such as CHIC, GRACE JONES and TOM TOM CLUB, this was if nothing, a more superior offering to either what LITTLE BOOTS or LADYHAWKE managed with their sophomore albums. North of the border, Marnie did her bit for the Scottish Independence Campaign with the rousingly anthemic ‘Wolves’.
The delightfully eccentric Imogen Heap showcased her innovative collaborative developments in music technology via her new album ‘Sparks’ and even squeezed in a collaboration with pop princess Taylor Swift for the latter’s million selling album ‘1989’. ELECTRICITYCLUB.CO.UK commented in 2012 about how CHVRCHES‘ ‘The Mother We Share’ sounded like “Taylor Swift gone electro”, so in a give some, take some back move, the young songstress came up with ‘Out Of The Woods’, a ditty quite obviously influenced by the Glaswegian trio and a synth laden tune entitled ‘New Romantics’ on the bonus edition. By coincidence with her slight passing resemblance to Miss Swift, QUEEN OF HEARTS launched her debut musical charter ‘Cocoon’ after several years in the making to confirm that pop was indeed not a dirty word.
In the leftfield electronica arena, Warp Records issued ‘High Life’, a collaboration by Karl Hyde and Brian Eno while there was also the long awaited new album from APHEX TWIN entitled ‘Syro’. And former MASSIVE ATTACK producer Davidge released an impressive debut collection of songs ‘Slo Light’ that featured Sandie Shaw, Cate Le Bon and Emi Green among its vocalists.
One act establishing themselves as major players in the modern electronic scene were Canada’s TR/ST. Led by the polarising “Eeyore gone goth” moodiness of Robert Alfons, the ironically titled ‘Joyland’ was an excellent second album that captured the sleazy nature of a 21st Century SOFT CELL and attached it to the grumpiness of Leonard Cohen.
Meanwhile, Brooklyn minimal duo XENO & OAKLANDER gave the world ‘Par Avion’, possibly their most accessible and colourful work yet. Also from the area came the shadowy huskiness of AZAR SWAN and the alternative mystique of Rexxy. Over in LA, NIGHT CLUB showed further promise with their best offering yet in their third EP ‘Black Leather Heart’ while in San Antonio, HYPERBUBBLE launched an ‘Attack Of The Titans’.
Baltimore’s FUTURE ISLANDS however divided opinion; their fans included Andy McCluskey, Vince Clarke, Martyn Ware, Rusty Egan and Jori Hulkkonen, but their unintentionally amusing live appearance on ‘The David Letterman Show’ performing ‘Seasons’ came over to some observers like a ‘Saturday Night Live’ skit on the 80s. However, with two sold out dates at London’s Roundhouse in March 2015, Samuel T. Herring and Co are the ones having the last laugh.
The Nordic region proved itself again to be the centre of electronic creativity. The dream partnership of Robyn and RÖYKSOPP reconvened after the success of 2010’s ‘The Girl & The Robot’ to ‘Do It Again’ while RÖYKSOPP themselves released what they announced to be their last album, appropriately titled ‘The Inevitable End’. Also featuring on that album was Nordic vocalist of the moment Susanne Sundfør who has her own new eagerly awaited long player ‘Ten Love Songs’ out in 2015.
Karin Park and Margaret Berger provided another united Scandinavian front when they performed together at Norway’s Melodi Grand Prix while Finnish duo SIN COS TAN delivered their third long player in as many years with a concept album called ‘Blown Away’. From Sweden came the welcome return of KLEERUP with ‘As If We Never Won’, the first of two new EPs before an album to follow-up the brilliant self-titled debut from 2008. Meanwhile, Emmon delivered her fourth album ‘Aon’ as well as a baby. There was more glacial oddness from IAMAMIWHOAMI with her second album ‘Blue’ while the brooding Nordic Noir pop of stunning identical twins SAY LOU LOU started to gain a foothold in readiness for their first long player ‘Lucid Dreaming’.
Nordic friendly music blog Cold War Night Life curated possibly the best electronic event of the year with ‘An Evening With The Swedish Synth’ at London’s 93 Feet East. In a bill supported by the promising TRAIN TO SPAIN and synth rock duo MACHINISTA who delivered a great debut album in ‘Xenoglossy’, the event was headlined by synthpop veterans PAGE. Incidentally, Eddie Bengtsson of PAGE’s solo project SISTA MANNEN PÅ JORDEN produced some interesting covers of OMD and DEVO, both reworked i Svenska.
And all this while ELECTRICITYCLUB.CO.UK bore witness to a puzzled British musician who actually asked with a straight face “What’s so special about Sweden then?”!! ‘An Evening With The Swedish Synth’ was a fine example of what could be achieved when an electronic event was actually curated by electronic music enthusiasts, as this was not always the case in several instances during 2014.
Following a four year hiatus, CLIENT rebooted and released ‘Authority’ with new singer Client N doing a fine impersonation of Marnie on the single ‘Refuge’. After a long gestation period, Anglo-German collective TWINS NATALIA released their debut long player ‘The Destiny Room’ and pleasantly wallowed in the neu romance of classic synthpop, dressing it with the vocal styles of Grace Jones and ABBA.
TWINS NATALIA’s ‘The Destiny Room’ was released on Anna Logue Records who in 2015 will issue ‘Signs Of life’, the debut album from enigmatic South East Asian combo QUIETER THAN SPIDERS. Possibly the best new synthpop act to emerge in 2014, as befitting their name, they made their music, edited some videos and just discretely got on with it, thus proving the theory that those who shout loudest are not always necessarily the best…
MARSHEAUX celebrated ten years in the business with a compilation called ‘Odyssey’ on the prestigious Les Disques Du Crépuscule label. They also announced an unusual project for 2015, an album covering DEPECHE MODE’s ‘A Broken Frame’ in its entirety. Also on Undo, KID MOXIE released her second album ‘1888’ featuring a collaboration with acclaimed film score composer Angelo Badalamenti to compliment her new cinematic pop approach. Meanwhile, one-time Undo label mates LIEBE started getting traction on MTV Europe and MIKRO maintained their position as Greece’s premier power pop band with their seventh album ‘New’ despite the departure of singer Ria Mazini following its unveiling.
From Dublin came the filmic ambience of POLYDROID. There were several other promising female led talents ranging from the sugary pop of PAWWS and the quietly subversive electro of I AM SNOW ANGEL to the soulful moodiness of HUGH and the mysteriously smoky allure of Fifi Rong.
VILE ELECTRODES confirmed their position as the best independent electronic act in the UK currently when they snared not just one, but two Schallwelle Awards in Germany. To celebrate the first anniversary of their brilliant debut album ‘The future through a lens’, the sparkling duo of Anais Neon and Martin Swan played alongside DEPECHE MODE tribute act SPEAK & SPELL for a wonderful evening that also featured Sarah Blackwood.
Miss Blackwood gave spirited live vocal performances of several songs from her own career as part of a singing DJ set including ‘Justice’, her recent collaboration for the FOTONOVELA album ‘A Ton Of Love’. There was additionally the bonus of her duetting with SPEAK & SPELL on ‘A Question Of Time’ during their ‘101’ performance celebrating the film’s 25th anniversary.
Possibly the best independently released album of 2014 came from Glasgow’s ANALOG ANGEL who freed themselves of their industrial shackles to produce a collection of sophisticated synthpop entitled ‘Trinity’. Having been around since 2009 and with two albums already to their name, the Scottish trio put their money where their mouths were. Their decision to avoid crowdfunding and invest in their own music was an applaudable decision, especially when other bands, who were still yet to prove themselves, were out with the begging bowls.
Indeed, 2014 was a strange year in which ego appeared to overtake ability and none more so than on the live circuit, where that old adage about needing to learn to walk before running ran true. Wanabee promoters with no notable experience bit off more than they could chew by playing Fantasy Festival, as was proven by the Alt-Fest debacle.
Despite a much publicised crowdfunding exercise, the simple use of a pocket calculator would have shown that an event of such magnitude could not be underwritten by such a comparatively small amount of cash and anticipated ticket sales. When rumours abounded that Alt-Fest was to be cancelled due to a lack of funds, the organisers’ silence and lack of resolve caused much resentment. Risk is all part of the game, but live ventures require solid finance, spirited commitment and an attempt at least to get in the black.
However, a few promoters appeared to want to make life difficult for themselves from the off. In its investigations, ELECTRICITYCLUB.CO.UK found that with one poorly attended event back in 2013, there was no way the event could have balanced its books, even if it had sold out its ticket capacity!
Meanwhile, there was another gig in 2014 publicised so covertly with restricted social media and bizarre pricing structures, it was as if the promoters didn’t want anyone to attend! Of course, there was also that tactic of announcing an event almost a year in advance without confirming any of the acts for several months, as if the event was more important than any of the music!
As Whitby Goth Weekend’s Jo Hampshire pointed out:“Alt-Fest had put its tickets on sale while still booking acts including headliners, which is potentially disastrous”! Despite the general feeling that independently curated live initiatives should be anti-corporate, everything is about business at the end of the day. However, a number of promoters at this end of the market failed to realise this. Any artists performing must be paid their expenses and fees as per any agreement, regardless of the final ticket sales unless terms such as door percentages or ticket sale buy-ons have been arranged.
But as one-time TECHNIQUE singer Xan Tyler pointed out: “Musicians get ripped off at every turn, online stores take a huge cut, Spotify don’t remunerate artists properly, venues expect you to play for bugger all (and in some case they expect you to pay to play). If you want to make money from the music industry, don’t be a musician!”
ELECTRICITYCLUB.CO.UK is coming into its fifth anniversary and continues to maintain a readership of discerning music fans, despite protestations in some quarters to the contrary. The site’s manifesto has always been about celebrating the best in new and classic electronic pop music. It has never made claims about supporting unsigned acts or any music that happens use a synthesizer.
As Client A put it franklyin the Autumn: “in the electronica age, anyone can be a musician but that also makes it a free for all with every tom, dick or curly clogging up the internet with their crap music…” Meanwhile, NIGHT CLUB added: “People forget about things so quickly these days because the internet is so inundated with crap…”
So ELECTRICITYCLUB.CO.UK considers what music it features very, very carefully. it may not manage to be first, like many so-called buzz blogs try to be, but it has always had longevity in mind, even if that is difficult to predict.
ELECTRICITYCLUB.CO.UK Contributor Listings of 2014
PAUL BODDY
Best Album: TODD TERJE It’s Album Time
Best Song: RÖYKSOPP & ROBYN Do It Again
Best Gig: NINE INCH NAILS at Nottingham Arena
Best Video: MAPS You Will Find A Way
Most Promising New Act: TODD TERJE
DEB DANAHAY
Best Album: RÖYKSOPP The Inevitable End
Best Song: RÖYKSOPP featuring JAMIE IRREPRESSIBLE Something In My Heart
Best Gig: COVENANT + LEGEND at Gothenburg Electronic Summer Festival
Best Video: PRINCESS CENTURY Das Schlimmste
Most Promising New Act: LEGEND
IAN FERGUSON
Best Album: MIDGE URE Fragile
Best Song: MIDGE URE Dark, Dark Night
Best Gig: THE RADIOPHONIC WORKSHOP at Glasgow Quayside
Best Video: IMOGEN HEAP The Listening Chair
Most Promising New Act: WRANGLER
MONIKA IZABELA GOSS
Best Album: ERASURE The Violet Flame
Best Song: ANALOG ANGEL Drive
Best Gig: DEPECHE MODE at Strasbourg Zénith
Best Video: DIE KRUPPS Robo Sapien
Most Promising New Act: PAWWS
STEVE GRAY
Best Album: RÖYKSOPP The Inevitable End
Best Song: RÖYKSOPP featuring JAMIE IRREPRESSIBLE I Had This Thing
Best Gig: GARY NUMAN at Hammersmith Apollo
Best Video: KID MOXIE Lacuna
Most Promising New Act: TWINS NATALIA
CHI MING LAI
Best Album: MIDGE URE Fragile
Best Song: ANALOG ANGEL The Last Time
Best Gig: KARL BARTOS at Cologne Live Music Hall
Best Video: LIEBE I Believe In You
Most Promising New Act: QUIETER THAN SPIDERS
SOPHIE NILSSON
Best Album: ERASURE The Violet Flame
Best Song: SISTA MANNEN PÅ JORDEN Stadens Alla Ljus
Best Gig: ANDY BELL in ‘Torsten The Bareback Saint’ at London St James Theatre
Best Video: ANDY BELL I Don’t Like
Most Promising New Act: PULSE
RICHARD PRICE
Best Album: ERASURE The Violet Flame
Best Song: POLLY SCATTERGOOD Subsequently Lost
Best Gig: PET SHOP BOYS at Brighton Dome
Best Video: JOHN FOXX B-Movie
Most Promising New Act: PAWWS
Nice but sleazy pop duo NIGHT CLUB have finally realised their promise with ‘Black Leather Heart’, their most consistent body of work yet.
Forming in 2011, New Jersey born singer Emily Kavanaugh and producer Mark Brooks from Denver, Colorado began writing songs together that combined the pure pop of BRITNEY SPEARS with the heavier spectre of punk rock and heavy metal into an alternative synthesized world.
Their sexy, minor key framework resulted in the promising EPs ‘Night Club’ and ‘Love Casualty’. From the latter came their breakthrough calling card ‘Poisonous’, a catchy pop tune that came over like Britney gone Emo with Emily Kavanaugh’s frisky feline delivery oozing a lusty appeal while maintaining a sinister edge.
Meanwhile, new songs such as the confrontational new wave disco of ‘She Wants to Play With Fire’, the raucous electroclash of ‘Cruel Devotion’ and the surprising electro ballad ‘Not In Love’ all give indications to the breadth of NIGHT CLUB’s continuing development.
From their base in Los Angeles, NIGHT CLUB kindly spoke to ELECTRICITYCLUB.CO.UK about their danceable, electronic underworld with an additional bonus in the world premiere of their new video ‘Not In Love’…
‘Black Leather Heart’ is your most accomplished body of work to date but the breakthrough came with ‘Poisonous’ from the ‘Love Casualty’ EP. What particularly inspired that song and was there a moment when you recorded it that you thought “this might be the one!”?
Emily: ‘Poisonous’ has its own little story. I’ll have to let Mark answer this one…
Mark: Me and Emily ran into my ex-wife’s new husband and he seemed like a ghost of the person of who he once was. I was really taken aback by his ragged appearance and loss of spirit. So we started writing a song from his perspective: He seemed addicted to the drama, pain and the poison of the relationship. As if he knew that the relationship would kill him, but he didn’t really care if it did.
When we finished recording Emily’s vocals on the song, we both felt like we had captured a really interesting juxtaposition. Super catchy sugary female vocals with a really interesting, dark, authentic back story. That tune was sort of when we felt like our song writing had evolved to the next step.
Your musical backgrounds are quite varied so how did you drift into doing synth based pop?
Emily: Well for me, I’ve always been a diehard pop fan growing up – I was obsessed with Britney. I started highlighting my hair in high school because I thought I would look like her and I tried working out a lot to get anything that resembled a six pack, which didn’t happen, but I was so determined.
I also grew up listening to a ton of classic rock that my dad introduced me to. My mom got me into NIRVANA and THE BEASTIE BOYS. I had a pretty eclectic music taste when I was a teenager and really just liked listening to well written pop songs.
After my dad passed away a few years ago, I would just sit in my apartment by myself and write angry guitar based songs that sounded like L7 and record them in Garageband. It was the first time I ever really tried writing pop songs. When Mark and I met, we quickly realized we had exactly the same music taste and we clicked on that level instantly. He has such an interesting musical background that seems to connect with mine, and I think together we just naturally vomit out dark synthpop.
Mark: I’ve always been obsessed with synthpop ever since I was a kid. I grew up obsessively listening to GARY NUMAN, ULTRAVOX, THE HUMAN LEAGUE, KRAFTWERK, DEPECHE MODE etc. As I got older I went through many other types of music obsessions but I always found myself returning to those late 70s / early 80s synth bands. There’s something in the sound of those bands that’s timeless to me. It was only a matter of time that I would finally be in a proper version of a synthpop band.
Who are NIGHT CLUB’s main influences both musically and aesthetically?
Emily + Mark: Musically definitely DEPECHE MODE, GARY NUMAN, PRINCE, MADONNA, BRITNEY SPEARS. CHARLI XCX is a modern artist we love and are inspired by. She can write hooks for days and her debut ‘True Romance’ that came out last year was great. We also really like what DISCLOSURE is doing.
Aesthetically we’re inspired by late 70s punk / new wave. ie leather jackets, satin jackets, b+w photography, bold colors (black / hot pink), not smiling (ha!) – BUT MOST IMPORTANTLY – as Rodney Bingenheimer put it: NO BEARDS OR MUSTACHES ALLOWED!
NIGHT CLUB unashamedly has the spectre of BRITNEY SPEARS lurking despite the darker gothic overtones?
Emily + Mark: Funny you say that because one of our favorite albums is ‘Blackout’ by Britney which came out in 2007 right after she kind of went insane and it’s easily one of her best records. We’re so influenced by the tone of that album. It’s so raw and sexy. Sonically the album is really influential too. We think that ‘Blackout’ is right up there with all the great dark synth stuff from the 80s.
Are your roles quite distinct as in Mark does the music and Emily does lyrics / vocals, or is the creative dynamic less pronounced than that?
Emily: We honestly write everything 50/50. Sometimes he’ll come up with a bassline, sometimes I will. It’s really equal. Mark is definitely the producer, but we both have a strong hand in the songwriting. I think we each balance each other out really well.
He’s great with mixing and production and making the song really work structurally, and I think I bring a good sense of melody to the mix. We both write lyrics. Sometimes Mark has a hook in mind already or just feels connected to a certain song, and I’ll say to him, just go to town and write, send me the lyrics you come up with and I’ll add in my own. And vice versa.
Mark: Yeah, I’ve never experienced a band dynamic as equal as this before. We create all aspects of our music together. A two headed synthpop hydra.
The starkly minimal ‘Give Yourself Up’ indicates that maybe Emily likes to be boss? 😉
Emily: Ha! Wouldn’t you like to know! Actually I think ‘Give Yourself Up’ is our own ‘Every Breath You Take’ by THE POLICE. We wanted to write a song about delusional stalkers because they’re crazy and fascinating.
‘Black Leather Heart’ showcases a significant progression compared with the self-titled debut EP. What do you think has contributed to this and how do you look back on your development?
Mark: I think we just keep trying to push ourselves to be better songwriters. Better melodies, better lyrics, better production etc. Our first EP seems simplistic to us now but we still dig it. We think we’re getting better… what do you think?
Yes, definitely! So what’s the story behind ‘She Wants To Play With Fire’ both lyrically and musically?
Emily: I actually wrote most of the lyrics myself, and they’re specifically about one of Mark’s ex-girlfriends that he dated right before we met.
They had a seriously tumultuous relationship, and let’s just say she didn’t seem like the easiest person to be around. Lots of drama.
Anyway she had moved out to LA from NYC and he was cool enough to let her live with him since she was unemployed and didn’t have a place to live yet. They broke up like 2 seconds later because he quickly realized she was not all right in the head and to cut long story short, she eventually was deported back to London, where she’s originally from!
Fast forward to a couple months later – Mark and I meet and start hanging out, everything is cool, we start doing the band and putting out videos, and suddenly we start getting these hateful comments on YouTube. We traced the account back to her and I remember one of her comments just kind of being the last straw… just really immature and below the belt. I remember being so annoyed and angry that I just kind of blurted out “she wants to play with fire” when we were working on music one night. It just took off from there. Hopefully the message has been heard in London.
Mark: It’s all true folks!
NIGHT CLUB’s music is primarily danceable but ‘Not In Love’ was a surprise in that it was a ballad, and quite unlike anything you’ve attempted before?
Emily: I love a good ballad. For this specific song, we were really influenced by HOOBASTANK’s ‘The Reason’ and EVANESCENCE’s ‘My Immortal’. I don’t even care that so many people hate on those bands because I think those two songs are so well-written and emotional. Plus HOOBASTANK and EVANESCENCE are laughing their way to the bank, so you can hate all day! Anyway, we wanted to make a piano ballad because we’ve never done it before and we wanted to try our hand at it. And I have to say, we really liked how it turned out. We’ll probably end up writing more like it.
Mark: I agree. It’s not an easy pursuit to write a ballad. There’s nothing to hide behind. When a song is in that raw of a state, it’s very clear if you know how to write melodically or not.
‘Black Leather Heart’ features a cover of INXS ‘Need You Tonight’. What made you choose that one and are there any other songs you would like to reinterpret?
Emily + Mark: When we started on this record, we wanted to try recording a cover since we hadn’t before. So we both started thinking of songs that we’d like to cover. INXS came up because we both love their songs. There’s something about that band that we relate to. They are an extremely catchy pop band but there’s an undercurrent of dark themes explored in their music. We also thought it’d be cool to hear a female sing from that point of view. Also we thought it’d be fun to try to do the song with only synths since it’s such a guitar song. We’re super happy with the results. That might be the only cover that we do for awhile. We’ll see…
Videos are an important aspect of NIGHT CLUB’s armoury. What would you say to observers who might say it should be all about the music and that visual presentation is just pandering to the pop game?
Mark: I’d say that visuals are just another way of exploring your artistic expression. In particular, we make all of our videos ourselves, so we’re extremely involved in that expression. We also don’t have any problems with pop whatsoever. WE LOVE POP MUSIC!!!
Do you feel any affinity with the excellent crop of new North American electronic acts such as ELEVEN: ELEVEN, SOFT METALS, FEATHERS or TRUST?
Mark: Yeah, we’re happy that other synth bands are gaining traction over here because that helps all of us really. One thing though, living in LA makes us feel like we’re removed from any sort of scene. As we don’t know these bands personally, we sort of work on our music in a vacuum. We’re looking forward to touring more for this record and getting out there and meeting other like minded bands.
What do you think of the rise of EDM in America? Has it helped or hindered NIGHT CLUB?
Emily + Mark: I definitely think it’s hindered us. People in the US are listening to all of these EDM songs that sound exactly the same and we don’t quite fit in to the idea of “what’s popular” here yet.
There seems to be a small undercurrent of people though that are tired of that type of dance music and synthpop seems to be gaining traction.
Will the best of the EP tracks go on to form an album or is the album format too restrictive a way to market your music in the modern age?
Emily + Mark: Maybe. We would love to make a full length album sometime in the future, but right now we just don’t think there’s a need for it. We have our own record label and there are no demands that we have to satisfy other than our own. People forget about things so quickly these days because the internet is so inundated with crap, so as a band we need to constantly be putting new material out there. Unfortunately we feel albums have lost their worth right now – it’s all about singles. EPs allow us to keep putting out music quickly so as far as we can see, that’s what we’ll keep doing.
What are your hopes and fears for NIGHT CLUB?
Emily + Mark: We’re looking forward to seeing what everyone thinks of the music that we’ve been writing for ‘Moonbeam City’ (an upcoming series on Comedy Central featuring Rob Lowe and Will Forte). We are also planning on coming over to the UK in 2015 and playing some shows over there finally. NO FEAR!
ELECTRICITYCLUB.CO.UK gives its warmest thanks to NIGHT CLUB
The ‘Black Leather Heart’ EP is released by Gato Blanco and available as a download via Bandcamp, iTunes and Amazon. NIGHT CLUB’s other EP releases can be downloaded from their Bandcamp via http://nightclubband.com/ while CD versions of the EPs are also available
Dark synthpop duo NIGHTCLUB are back with their third EP ‘Black Leather Heart’ and they are as frisky and sleazy as ever.
Forming in 2011, vocalist Emily Kavanaugh and producer Mark Brooks began writing songs that combined the pure pop of PINK and BRITNEY SPEARS with the heavier spectre of SLAYER, into a danceable, electronic underworld.
Their respective life experiences led their music into this darker territory as Kavanaugh dealt with her father’s untimely death while Brooks faced his own personal demons. Their sexy, minor key framework resulted in the promising EPs ‘Night Club’ and ‘Love Casualty’.
Highlights included ‘Give Yourself Up’ which was THE WHITE STRIPES’ ‘Seven Nation Army’ driven by bass synthesizers while the duo’s calling card ‘Poisonous’ was a marvellous example of what Britney would have sounded like had she dated Andrew Eldritch and walked into EURYTHMICS recording sessions for ‘Sweet Dreams (Are Made Of This)’ while on amphetamines!
Kavanaugh however has been more blunt in describing their musical DNA: “If Depeche Mode f*cked Britney Spears and had a baby who hung out in dark corners of seedy clubs, then that baby would be us”. With so many familiar reference points in NIGHT CLUB’s music, the ‘Black Leather Heart’ EP just cuts to the chase with an enjoyable electronic cover of INXS’ ‘Need You Tonight’.
Here, the familiar guitar riff is amusingly transposed into a series of synth stabs before mutating into a mutant Morse code. Sure, it ain’t rock ‘n’ roll but we like it! Purists will be horrified but the best cover versions always do a spot of genre and instrumentation hopping.
Even better though is ‘She Wants to Play With Fire’ which is supreme melodic synthpop with a sinister edge. Following a similar disco tempo to ‘Need You Tonight’, the chorus and middle eight rouse with Kavanaugh’s feline demure toying with a fight against her bitter love rival.
‘Camouflage’ features a fatter Linn styled beat but maintains the synth disco template with an infectious squidgy bass line. ‘Not In Love’ takes the pace down to come over like a YAZOO ballad reimagined for ‘The Breakfast Club’ with Kavanaugh exposing an honest resigned vulnerability to accompany the rich electronic tones.
The concluding funky ‘Cruel Devotion’ grooves but Brooks keeps the melody very European despite the Trans-Atlantic backbone for a wonderful pulsating bop that could easily be of Electroclash vintage. A great vocodered refrain adds to all the futuristic fun.
‘Black Leather Heart’ is without doubt, NIGHT CLUB’s most consistent body of work yet; they have catchy tunes and Emily Kavanaugh’s kitten-like delivery oozes a lusty appeal. Along with fellow Americans ELEVEN: ELEVEN, they are danceable modern synthpop at its best.
The ‘Black Leather Heart’ EP is released by Gato Blanco on 2nd September 2014 and available as a download via Amazon and iTunes
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and they are as frisky and sleazy as ever.
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