Tag: NINA (Page 6 of 7)

PARALLELS + NINA Live at Zigfrid Von Underbelly

4 April 2018 /

London’s Zigfrid Von Underbelly played host to two of the best acts currently bridging synthpop and synthwave, PARALLELS and NINA.

For Toronto trio PARALLELS, this was their first UK gig as part of a short European jaunt also taking in Sweden and France. Meanwhile for NINA, it was her first full live performance since the release of her acclaimed debut album ‘Sleepwalking’.

Accompanied by her ever faithful electronic percussionist and backing vocalist Laura Fares, NINA came on stage alluringly cosplaying  as Charlie Blackwood from ‘Top Gun’ and opened proceedings on her Roland Gaia with ‘Don’t You Give Up’, her vibrant collaboration with Swedish producer Oscillian who worked his studio magic on the majority of ‘Sleepwalking’.

With a good turnout for the evening, the enthusiastic crowd welcomed the marvellous moonlit triumph of ‘Beyond Memory’ and its sister song, ‘My Mistake’. While the latter was picked up by Mercedes-Benz back in 2014, the former showcased the strength of NINA’s development since that first burst of praise and recognition.

Continuing with the driven pop of ‘Empire Of Love’, NINA’s poignant delivery of her anti-bullying anthem ‘One Of Us’ captivated all those present. The mighty ‘Your Truth’ allowed Laura Fares to shine energetically on her Roland percussion pad, adding pertinent dynamics next to NINA’s devoted assurance that “I’ll be there for you”.

But the best was saved to last with the neon-lit thrust of ‘80s Girl’, NINA’s touching song dedicated to her mother. Embroiled in passion and positivity like a missing theme tune from ‘Mannequin’, all Laura could do was crouch down in awe as she observed NINA’s neo-acapella conclusion to the song’s fading synths.

During the interlude, DJ She-Ra pulled off the impressive feat of playing a set of synthwave and Italo that, while largely unknown to the wider public, was immediate and enjoyable without having to resort to the same old – same old. Other music anchors should follow her example while her inclusion of ‘Let Me In’, the KLEERUP collaboration with SUSANNE SUNDFØR, showed she also had impeccable taste.

Accompanied by her bother Nick on drums and Oliver Blair on synths, Holly Dodson led PARALLELS through an enticing performance that proved their worth as an engaging live band, a more than welcome sight when a number of noted synthwave acts’ live presentation comprises of just one man and his laptop, with some visuals if you are lucky.

With her big auburn hair and wearing a striking sequinned black jacket, Holly had that inherent onstage confidence having grown up in the music business after her father Rich found fame as the singer and guitarist of Canadian AOR combo THE STAMPEDERS with his song ‘Sweet City Woman’, a domestic No1 in 1973.

Indeed, one could be forgiven for thinking Holly was the lead singer of a band like HEART, rather than an electronic pop group.

Opening with the playful ‘Find The Fire’ which appeared on ‘Kitsuné Maison Compilation 8’ back in 2009 alongside CHEW LIPS and DELPHIC, Holly was a natural at connecting with the audience, all while moving around singing and occasionally veering over to play keyboards.

There was a delightful synth-off between Holly and Oliver on ‘Dry Blood’ before she sweetly dedicated the CHVRCHES influenced ‘Metropolis’ to everyone at ELECTRICITYCLUB.CO.UK, while the bouncy electropop of ‘Tell The World’ from the ‘Metropolis’ album maintained momentum.

On the gorgeous ‘Runaway Girl’, a brilliant track written by Oliver Blair for his RADIO WOLF project, she gave a marvellously candied performance that was powerful too.

Breezy with ‘Electrimotion’, as an introduction to ‘IRL’ (a commentary on internet dating), Holly encouraged the audience to hug each other, before the percussive ‘Ultralight’ allowed Nick Dodson to indulge briefly in a drum solo during a middle section respite from the song’s pulsing electronics.

PARALLELS’ most recent single ‘The Last Man’ arrived in its more frenetic RADIO WOLF variant with Oliver Blair clearly relishing the opportunity to present his neo-gothic handy work. Closing with the synthy New Wave drama of ‘Counterparts’, this was an accessible and lively set with no lulls that was enjoyed by the appreciative crowd, no doubt buoyed along by Holly’s sparkling personality.

In a live marketplace where there are far too many mismatched billings, PARALLELS and NINA made a perfect pairing, more than complimenting each other in style, mood and sound while both being different in their presentation and approaches. With great tunes, lots of synths and insistent groovy rhythms, this evening was exactly what modern electronic pop music should be all about.

PARALLELS ‘Metropolis’ is released by Marigold Productions and available as a CD or download from https://parallels.bandcamp.com/album/metropolis

They play Toronto Adelaide Hall on Thursday 26th April 2018 and Ottawa House of TARG on Friday 11th May 2018

http://www.iloveparallels.com/

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https://www.instagram.com/iloveparallels/

NINA ‘Sleepwalking’ is released by Aztec Records and available on CD, download or pink vinyl LP from http://www.ninasounduk.com/store/

https://www.iloveninamusic.com/

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Text by Chi Ming Lai
Photos by Richard Price and Chi Ming Lai
4th April 2018

NINA Sleepwalking

16 March 2018 /

‘Sleepwalking’ is the long-awaited debut album from the classically trained German songstress NINA.

With a musical palette shaped by a love of QUEEN, DEPECHE MODE, DAVID BOWIE, ALPHAVILLE, KRAFTWERK, NENA, CHROMATICS and LADYHAWKE, it contains some of her most personal work yet; “I think it’s important to keep your work personal and evolve as an artist” she told ELECTRICITYCLUB.CO.UK.

Since her second single ‘We Are The Wild Ones’ in 2013, Berlin-born songstress NINA has grown in profile and stature. Support slots with ERASURE and DE/VISION followed in 2014 but it was her third single ‘My Mistake’ that became her breakthrough song. Beginning the long player, nocturnal warmth exudes from ‘Beyond Memory’, demonstrating how NINA’s own brand of pulsating electronic pop acts as a bridge between synthwave and synthpop.

With her vocals deliciously slicing the moonlit atmosphere with a superbly breathy chorus, ‘Beyond Memory’ is about past relationships. A close relative of the Mercedes-Benz endorsing ‘My Mistake’, ‘Beyond Memory’ more than makes up for its absence on the album.

Meanwhile, ‘Born To Live’ is embroiled in confidence with a soaring chorus recalling AVEC SANS, sweetened with a highly alluring almost spoken middle eight à la KID MOXIE, while the synth line recalls the rather obscure ‘There Goes the Cure’ by ONE DOVE.

Full of arpeggiators and pulsating synths, ‘Sleepwalking’ is a vibrant number that paces the mood to a gallop, with a delightful keyboard cascade finish. Bubbling electronics over a sparse intro lead into the nocturnal synth AOR of ‘It Kills Me’. With piano also entering the fray, it’s not unlike Toronto’s very own electronic pop combo PARALLELS.

The previously issued B-side ‘Purple Sun’ does what it says on the tin, is it a love letter to PRINCE or something else entirely? The layers of backing vocals might provide a clue…

The drive-friendly ‘Empire Of Love’ lifts the tempo again with a glorious whirring ULTRAVOX-styled synth solo to buoy up proceedings, but at the opposite end of the album’s colourful spectrum, ‘Diamonds In The Rough’ is a perfect Brat Pack movie ballad, while also emulating some of the best in Scandinavian pop overtures and allowing NINA’s soprano to shine. And although “everybody’s here, they’re having fun”, a forlorn NINA reflects on not fitting in… cut from a similar cloth, the cinematic Nordic pop of One Of Us’ is heartfelt, Fraulein Boldt’s musical catharsis about school bullying.

And when she is ‘Counting Stars’, the song utilises vintage synth sounds to the max, both rich and retro-futuristic with “a mission on our own” like classic PET SHOP BOYS. ‘Your Truth’ is more compelling neon-lit synth AOR, with another rousing chorus and some guitar inflections combining with those vintage love theme Emulator voices as she confirms “I’ll be there for you”.

For a fabulously optimistic conclusion to the album, ‘80s Girl’ comes beaming over like the missing theme song from the film ‘Mannequin’. With big Simmons drums, sampled orchestra stabs and driving synthbass triplets, it is however delivered with subtlety and restraint so that it doesn’t turn into a HEART or STARSHIP pastiche.

Dedicated to her mother, it’s great song that sums up the best in NINA. And in a telling message to everyone, she declares “don’t let the past hold you back”. Yes, it all does sound like a John Hughes film soundtrack but that’s not a bad thing.

A highly enjoyable musical journey that’s strong on melody, Richard X, Oscillian and Sunglasses Kid have each done a very good job working with NINA to produce a cohesive body of work.

A positive album for outsiders and individuals, NINA is a songstress who speaks for the lonely and disenchanted without going all Emo. It’s been many years in the making, but NINA’s ‘Sleepwalking’ has been well worth the wait.

Special thanks to Laura Fares at Aztec Records

‘Sleepwalking’ is released by Aztec Records, available as a download from https://ninasounduk.bandcamp.com/album/sleepwalking-album

https://www.iloveninamusic.com/

https://www.facebook.com/iloveninamusic

https://twitter.com/iloveninamusic

https://www.instagram.com/ninasounduk/

Text by Chi Ming Lai
Photos by Joakim Reimer
16th March 2018

NINA Interview

5 March 2018 /

In modern electronic music terms, London-based Berliner NINA is the crucial link between synthpop and synthwave.

With a musical palette shaped by a love of QUEEN, DEPECHE MODE, DAVID BOWIE, ALPHAVILLE, KRAFTWERK, NENA, CHROMATICS and LADYHAWKE, she released her first single ‘Take Me Away’ in September 2011 on Aztec Records.

After a second single ‘We Are The Wild Ones’, NINA achieved her breakthrough with ‘My Mistake’ in 2014; the song was picked up by Mercedes-Benz the following year for a worldwide TV and radio advertisement campaign. Meanwhile, opening slots on tours for acts like DE/VISION and ERASURE gained her further momentum.

After a long gestation period, with the singles ‘Beyond Memory’ and ‘One Of Us’ acting as tantalising teasers, NINA’s debut long player ‘Sleepwalking’ is finally about to be unleashed. Trailed by the album’s title track, it is a wonderfully moonlit pop number with a Eurocentric sensibility that will also act as perfect to soundtrack a West Coast night drive.

NINA kindly spoke about the making of her ‘Sleepwalking’ album and how she has applied various life experiences into her evolving artistic expression.

Your debut album has been a long journey, but you’re there at last…

I know it’s been a long time coming but I’m a perfectionist and I didn’t want to release something that was only halfway there. The whole songwriting / recording process takes time. And Oscillian, who is our main producer, is based in Sweden, so it does slow things down a little. But we’re all very proud of the finished product.

Previously released songs ‘Beyond Memory’, ‘One Of Us’ and ‘Counting Stars’ are on the album while ‘My Mistake’ and ‘We Are The Wild Ones’ are not; was it a difficult process to decide which of the older songs to include to provide a familiarity point for those who are curious, while keeping it fresh for your loyal following which you’ve gained over the years?

Absolutely, some tracks are quite old now and I feel like I’ve matured and moved on since then. Those singles are still available in digital stores worldwide. But our team has changed, so we tried to focus on the newer tracks we wrote, which fans love just as much.

It’s a very melodic album, both vocally and instrumentally…

Yes, it’s all about the melodies for me. We like strong harmonies for most sections of the songs. Lots of dynamics, and interesting arrangements too, and it needs to be something you can sing along to and remember. I guess this is where my love for pop comes into the equation!

The album features four different producers but you’ve managed to get a continuity running throughout…

We were very adamant about the sounds and the vibe we wanted for this album. It had to all sound coherent and I’m glad we achieved that. All producers involved have that strong 80s synth influence that I was after.

How would you describe each of the creative dynamics when working with Oscillian, Richard X and Sunglasses Kid?

For this album, we mainly worked with Oscillian. He’s based in Sweden, so he flew to London and I went to Sweden to record vocals over the years, but a lot of it was done over the distance, on long skype calls! It’s a very organic process with him, and we inspire each other a lot. We’re already working on my second album.

Richard X is a legend and really understands how to make a great song, he’s had so many commercial worldwide hits, and the quality of his production is world-class.

Sunglasses Kid used to be my neighbour in North London and we’re both signed to the same label / publisher, so we met a few times. We also tend to play a lot of the same synthwave festivals. A collaboration seemed like the natural thing to do! Two great songs came out of that, ‘Beyond Memory’ and ‘80’s Girl’.

The atmosphere is very filmic, how much have you been influenced by film soundtracks, in particular by say Giorgio Moroder and Vangelis?

Yes, I think that’s because of the dynamics in my songs. In some way I think both Moroder and Vangelis influenced my music, as they were pioneers in this genre. We’re looking at releasing the album instrumentals as a deluxe digital version, as a lot of fans have been asking for them.

Did you have any particular go to synths to get the colours and textures you desired for this?

Oscillian mainly used soft synths like the Oberheim OB-X and Korg PolySix for the album. And I used my Roland Gaia. I’m also a big fan of detuned analogue synth sounds, so we included some of those sounds too.

You’ve described the album as being more personal than your past work?

It certainly is. ‘One Of Us’ is about me being bullied in High school, ‘80s Girl’ is about my mum and her struggle of being a single mum in Berlin in the 80s and ‘Beyond Memory’ is about one of my past relationships and how I got my heart broken. I think it’s important to keep your work personal and evolve as an artist. I do love writing narratives too but it always comes back to something I can relate and connect to.

The ‘Sleepwalking’ title track is vibrantly neon lit but there’s real emotion in there.

Yes, the beat is pretty uplifting but when we wrote the lyrics, we were thinking about how we subconsciously become protectors of the ones we love and care about, almost as if we were a hunter in a trance, or sleepwalking. It also talks about how people can dramatically change throughout a relationship.

The serene ballad ‘Diamonds In The Rough’ is very heartfelt, that could have come from a Brat Pack movie, in fact you can visualise Rob Lowe and Demi Moore 😉

It’s my favourite track of the album. A very good friend of mine wrote most of the lyrics. It’s about falling in love for the first time. I actually played this track at my mum’s wedding in Las Vegas a couple of years ago. Those were a very emotional few days, as we’re very close and this song represents the true essence of happiness you can find with someone.

Which were your favourite Brat Pack movies and was there a particular actor or actress you could relate to the most?

My favourites are ‘The Breakfast Club’ and ‘Mannequin’. I’m a huge Andrew McCarthy fan. I can mostly relate to Molly Ringwald in ‘Sixteen Candles’. I get all shy and awkward when I like someone. That movie is hilarious.

What’s next for you?

I have a few shows lined up this year to promote the album, which I’m very excited about. We’ve also started to work on my second album, which we’re hoping to release early next year. I won’t take 5 years this time! Promise 🙂

ELECTRICITY CLUB.CO.UK gives its warmest thanks to NINA

Special thanks to Laura Fares at Aztec Records

‘Sleepwalking’ is released by Aztec Records on 16th March 2018, pre-order the CD or pink vinyl LP from http://www.ninasounduk.com/store/

NINA plays Zigfrid von Underbelly in London with PARALLELS on SATURDAY 31ST MARCH 2018, tickets available from https://www.eventbrite.com/e/parallels-nina-live-dj-sets-by-futurecop-she-ra-tickets-42901658014

She also appears at Retro Future Fest II on SATURDAY 28TH JULY 2018 at 229 in London alongside VINCENZO SALVIA, VHS DREAMS, WAVESHAPER, PLAYER ONE, THE DEPARTMENT and many more, tickets available from http://www.wegottickets.com/f/11337

https://www.iloveninamusic.com/

https://www.facebook.com/iloveninamusic

https://twitter.com/iloveninamusic

https://www.instagram.com/ninasounduk/

Text and Interview by Chi Ming Lai
Photos by Katie Knight-Adams
5th March 2018

PARALLELS Interview

19 January 2018 /

Photo by Lolly Orbell

Canadian synthpop trio PARALLELS rode on some well-deserved international momentum in 2017 following the release of their third album ‘Metropolis’.

Championed by the likes of Rusty Egan, the Toronto combo formed in 2008 and released the 2010 debut long player ‘Visionaries’.

However, PARALLELS went through some personnel changes prior to the recording of their sophomore offering ‘XII’.

In 2018, the line-up comprises of Holly Dodson, her brother Nick and one-time CLIENT collaborator Oliver Blair. With their catchy sweetly flavoured songs like the ‘Metropolis’ title song, ‘Catch’ and ‘Heart Of The Wild’, PARALLELS’ third long player was an audio document of how “we travelled… fell in and out of love… rediscovered the places we call home…”, with the end result sitting down well alongside the likes of PURITY RING, CHVRCHES and AVEC SANS.

Singer, songwriter and synthesist Holly Dodson took time out from rehearsals to chat about the continuing progression of PARALLELS and their first live appearance in London which is happening alongside German songstress NINA in March…

Canada appears to have become a centre for modern electronic pop with the likes of PURITY RING, ELECTRIC YOUTH, GRIMES, AUSTRA and TR/ST. What inspired you to head in this direction as PARALLELS?

Starting out, we were very inspired by Italo disco and synthpop from the 80s. Piano was my first instrument, so synthesizers were sort of the next step for me when I got more into production. I love the colour that synths add. And we wanted to make upbeat dance music with pop vocals… plus we didn’t know how to play guitar so it was partly a matter of circumstance 🙂

Your third album ‘Metropolis’ appears to have been your breakthrough internationally, how has the reception looked from your end?

I’m really truly grateful for the reaction it’s gotten so far! I’m usually most nervous to find out what our long-time fans think of new stuff… I really just want them to be happy and excited from the getgo. Thankfully it *seems* like it was well received. It’s been an introduction for new fans as well, which is wonderful. As long as it’s connecting on some level… any level… I’m thrilled.

How have you viewed the band’s progression over the years since your 2010 debut ‘Visionaries’?

Seems like yesterday! I’ve sort of ended up being the thread that’s tying it together – which I didn’t anticipate. We went through some line-up changes that at the time were pretty emotionally challenging, but so many bands do. For me, it’s always been about making music and playing shows… so I wanted to keep focus on that. The seeds were planted so let’s grow the garden. It’s been truly rewarding on many levels, creatively, and I’m really looking forward to going deeper.

Your lovely version of ‘Moonlight Desires’ on your second long player ‘XII’ points to perhaps a youth possibly spent watching John Hughes and Brat Pack movies?

So happy you like it! I’m a child of the 80s, so naturally, yeah… plus GOWAN is Canadian. We hear the original version it all the time in Canada. It’s always fulfilled all the necessary criteria – incredible hooks, the moon, magic melodies, nostalgia 🙂

I just recently learned that GOWAN’s actually heard the cover… and approves!! Which is SUCH a relief haha… you never know.

Do you feel any affinity with North America’s current interest in the Synthwave sub-genre?

It definitely seems to be having a moment right now – it feels very buzzy and grassroots which is wonderful. It also seems like a bit of a gateway for new listeners to get into synth music and an excuse for long-time listeners to get re-excited. I love knowing these communities are forming and have some dear friends involved in the scene – so it’s inspiring to see it coming together.

Photo by Sarah Llewylen

The ‘Metropolis’ title track does have a CHVRCHES vibe, has the success of Glaswegians been an indicator that a potential worldwide audience is out there?

I’m definitely a big fan of CHVRCHES – it’s so cool to see synthpop rise to that level! I’d love to write with them one day. Yes, I’m a firm believer that synthpop is for everyone whether or not they know it 😉

In 2016 – the year everyone wants to forget – I had a big binge on PRINCE’s music, which inspired ‘Metropolis’.

Actually, until the last minute, it didn’t have bass on it because ‘When Doves Cry’ doesn’t, but I realized I was just grieving and so recorded the bass… it brought a bit closure 🙂

There’s a hint of ‘Running Up That Hill’ in ‘Catch’, how important has KATE BUSH been in shaping your take on music?

‘Running Up That Hill’ is one of my absolute favourite songs of all time – KATE BUSH is my home for inspiration. If I have insecurities or self-doubt, I put on her records. When I first played my demos to a family friend of ours, when I was 17 or so, he said my voice reminded him of KATE BUSH… and at that time I had no idea who she was. So I went and listened to the ‘Hounds Of Love’ album and, I’m not joking, everything made sense.

She changed how I understood creativity and represents freedom of expression in its truest form. Some people spend so much time trying to fit in that they forget to find their own voice. With KATE BUSH, it seems like she knew – and wasn’t afraid to experiment and take risks, push boundaries with grace. And I love and admire that so much. I could talk about this for hours… obviously.

You’re releasing a great new RADIO WOLF remix of ‘The Last Man’ as the new PARALLELS single. It’s quite different from the album version, what was the thinking behind having the track reworked?

Our good friend (turned band mate) Oliver Blair had wanted to do a remix – he said he wanted to speed it up and “paint it red”. I love what he did with the remix. He really brought out the edge in that song. The song is about holding ourselves accountable for our actions toward the earth and each other… which is becoming more and more urgent. So I think he really picked up on that with his interpretation.

So which have been your own favourite songs on ‘Metropolis’ and why?

Well in case the songs are listening, I love them all equally. But… Isadora’ is one of my favourites – it’s sort of a séance song. I’ve never been a part of one but would love to at some point.

‘Tell The World’ and ‘Metropolis’ are ones that mean a lot to me. They remind me of home, my family and friends. ‘Tell The World’ is about story-telling, learning from the past and how stories connect us. It makes me emotional when I hear it, but I’m really happy with how it turned out.

Photo by Sarah Llewylen

PARALLELS covered NEW ORDER’s ‘Age Of Consent’ for the ‘Civilisation’ EP in 2015, what made you choose that and do you have any other songs you would be interested in reinterpreting?

There’s a list! I’m working on one now but want to keep it a surprise. We used to jam to ‘Age Of Consent’ during practises and it’s one of my favourite NEW ORDER songs… it reminds me of being a teenager and not having the words to express my emotions. I’d just say… listen to this song… this is how I feel.

Electronic music appears to have more sister / brother combinations eg THE KNIFE, XYLO, FAKE TEAK than say in rock, why do you think that might be and how is your creative relationship with your sibling Nick?

True, I never realized that. Nick joined in 2011… I said “I’m looking for a drummer… want to join PARALLELS?” and he said “well, I play metal but I guess I could play your stuff” 🙂

He’s a true talent and one of my best friends – always there for a critical critique, and I trust his opinion.

PARALLELS are coming to London in March 2018; as well as the gig with NINA, what else are you hoping to do while you’re here?

We are! It’s our UK debut – we’re so thrilled to be playing with NINA. Would love to see Abbey Road, Soho… our band mate Oliver lived in London for years, so we’re hoping he will be our tour guide. Any insider advice?

ELECTRICITYCLUB.CO.UK gives its warmest thanks to PARALLELS

The RADIO WOLF remix of ‘The Last Man’ is released on the usual digital platforms, available as a download from https://parallels.bandcamp.com/track/the-last-man-radio-wolf-remix

‘Metropolis’ is available as a CD or download from https://parallels.bandcamp.com/album/metropolis

PARALLELS play Zigfrid von Underbelly, 11 Hoxton Square, London N1 6NU with NINA on SATURDAY 31ST MARCH 2018

http://www.iloveparallels.com/

https://www.facebook.com/Parallels/

https://twitter.com/iloveparallels

https://www.instagram.com/iloveparallels/

https://soundcloud.com/parallels

Text and Interview by Chi Ming Lai
19th January 2018, updated 7th February 2018

AVEC SANS Live in London

1 October 2017 /


Electropop duo AVEC SANS gave a wonderfully assured performance on the final night of their UK tour in London’s Hoxton Square Bar & Kitchen with a dazzling combination of sound, colour and passion.

Since the release of their well-received debut album ‘Heartbreak Hi’ in June 2016, Alice Fox and Jack St James have been very much in demand for live shows where AVEC SANS have made the biggest impression.

While the pair have been compared to CHVRCHES and PURITY RING, Fox’s bittersweet vocal expression has a deeper resonance compared to the occasionally shrill voices of Lauren Mayberry or Megan James. Meanwhile in a concert setting, St James’ use of three back flipped Novation Launchpads alongside a Nord keyboard and electronic drums has solved that age old authenticity conundrum in electronic music to clarify what is live and what is Memorex…

Beginning with the moody synthwave of ‘When You Go’, cheers greeted the familiar blips of ‘Perth’, AVEC SANS’ electro cover of BON IVER’s folkie lament inspired by the late Australian actor Heath Ledger.

With its gliding arpeggios and spacey vocal manipulations, ‘The Answer’ proved equal to ‘My Mistake’ Mercedes-Benz favourite NINA, while the driving pop of album highlight ‘Hold On’ ensured the enthused dancing in the first few rows was maintained.

‘Resonate’ and ‘History’ both explored the offbeat sub-bass whips of PURITY RING before a catchy synthpop tune with an essence of CHVRCHES was offered in the marvellous ‘We Are’.

AVEC SANS pay close attention to detail in their live presentation from Fox’s glowing mic lead to the effective use of St James’ flashing controllers as both visual and connective tools; the platinum blonde singer punched the air with aplomb while the baseball capped instrumentalist multi-tasked with a joyful demeanour.

The swirly ‘Shiver’ and the R’n’B tinged fervour of ‘Heartbreak Hi’ title track concluded an energetic set but now established as a fan favourite, there was the bonus of an enjoyable cover of the Kate Bush classic ‘Running Up That Hill’ as an encore.

Having impressed with their crisp debut album, AVEC SANS now move onto their follow-up long player. With all the experience acquired since their formation in 2012, Fox and St James have the potential to deliver an opus to take them to the level of their lauded Scottish and Canadian contemporaries.

Professional, organised and hardworking, many acts could learn from AVEC SANS’ approach to live presentation, visual image, media engagement and audience networking. It may seem obvious to have a range of photos for press into organised folders but quite a few bands don’t even manage that!

With these basics sorted, AVEC SANS have climbed the first steps of the ladder.

The album ‘Heartbreak Hi’ is released by Beverly Martel, available via the usual digital outlets as well as CD and vinyl LP

http://avecsans.com/

https://www.facebook.com/avecsansband/

https://twitter.com/avecsans

Text and Photos by Chi Ming Lai
1st October 2017

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