Tag: Pet Shop Boys (Page 8 of 17)

25 FAVOURITE ITALO DISCO TRACKS

12 May 2018 /

The recent documentary ‘Italo Disco Legacy’ and its accompanying soundtrack allowed a much maligned if cultishly celebrated form of electronic pop to be artistically re-evaluated.

Arguably pioneered by Italian producer Giorgio Moroder via his various projects using the then-new sequencer technology, Italo Disco coincided with the growing use of synthesizers, vocoders and drum machines within dance music and became a distinct sub-genre with its own electro heart.

Despite its name, Italo Disco was not strictly a native affair; the form became a stylistic phenomenon in territories such as Spain, Greece and France, parts of the USA such as New York and Los Angeles, Sweden and Germany. In fact, it was the German record label ZYX Music who coined the term and were particularly key in taking the music out of Italy, leading it to become a rogue gene in House music before eventually mutating into Eurodance.

One of the countries not to truly embrace Italo Disco was the UK where club audiences preferred the more soulful adrenalin rush of HI-NRG. However, it literally came in through the back door when it was a key influence in the music of PET SHOP BOYS and NEW ORDER, particularly in their use of very Eurocentric octave shift basslines and easy-to-dance-to beats.

Highlighting the British hypocrisy of only accepting Italo Disco provided it was fronted by the aloof cool of a Neil Tennant or a Bernard Sumner, in a 1986 issue of Record Mirror discussing PET SHOP BOYS’ ‘Suburbia’, the reviewer confessed: “Despite the fact that I love the PET SHOP BOYS as much as I loathe MODERN TALKING, I have to admit that musically, they’re not that different!”

One key aspect of Italo Disco was that the majority of its artists used very English names in an attempt to hide their origins. However, the charming accents often captured an amusing vocal detachment while the frequent “woah-oh” refrains, abundance of catchy melodies and timing mistakes also contributed to its escapist appeal.

Italo Disco went global with Laura Branigan whose two biggest hits ‘Gloria’ and ‘Self Control’ were covers of Italian artists UMBERTO TOZZI and RAF respectively, while Samantha Fox and Sabrina were two of the more noticeable figures in pop who used it as a springboard for their own high profile careers.

Providing the soundtrack to many a Mediterranean summer holiday, the zenith of Italo Disco’s ubiquity (and some would say banality) was probably BALTIMORA’s ‘Tarzan Boy’, the worldwide hit fronted by the late Northern Irish model Jimmy McShane, although the lead vocals were performed by one Maurizio Bassi in a practice that was exploited frequently by the sub-genre’s producers.

Longevity was very rare in Italo Disco, so its history is represented more by a number of great records rather than great artists, although several such as FANCY, SAVAGE, BOBBY O and RYAN PARIS have entered into music folklore.

Latterly, Anglo-Argentine duo HEARTBREAK revived the form with a much harder sound and KNIGHT$ has added his own Home Counties take on the form labelled as Britalo. Meanwhile Italo Disco’s continuing influence can be heard within most types of modern electronic music including Synthwave.

In these darker, more turbulent times, the sunnier disposition of Italo Disco is just what the Doctor Rhythm ordered. So here are 25 nominally Italo Disco tracks which have brought a smile to ELECTRICITYCLUB.CO.UK’s face, with a restriction of one track per artist in chronological and then alphabetical order.

KLEIN & MBO Dirty Talk (1982)

KLEIN & MBO were formed by Italian producer Mario Boncaldo and American arranger Tony Carrasco. Like a blueprint of early house music, their rhythmically hypnotic neo-instrumental ‘Dirty Talk’ with its orgasmic vocal interludes by jazz singer Rossana Casale proved to be a big influence on NEW ORDER for ‘Blue Monday’. Meanwhile MISS KITTIN & THE HACKER covered the track for their ‘Champagne’ EP in 1998.

Available on the KLEIN & MBO single ‘Dirty Talk’ via Tirk Recordings

https://www.facebook.com/KleinMbo-90283074783/

BOBBY O I’m So Hot For You (1982)

Bobby Orlando is credited as one of the founding fathers of Hi-NRG dance music thanks to his work with DIVINE, but operating at a more disco friendly 122BPM, ‘I’m So Hot For You’ was ‘Don’t You Want Me?’ taken on a New York subway ride with its rolling bass lines and Latin beats. The track was later sampled in 2003 for ‘Da Hype’ by JUNIOR JACK.

Available on the BOBBY O album ‘The Best Of’ via High Fashion

http://www.bobby-orlando.de

THE FLIRTS Passion (1982)

THE FLIRTS were an interchangeable girl trio of one redhead, one blonde and one brunette under the control of Bobby Orlando, whereby those who did the personal appearances had no relation to those who had sang on the tracks. ‘Passion’ was a favourite of PET SHOP BOYS so much so that it was the inspiration for ‘In The Night’ while FELIX DA HOUSECAT ripped it lock, stock and barrel for ‘Silver Screen – Shower Scene’.

Available on THE FLIRTS album ’10 Cents For A Dance’ via High Fashion

http://www.theflirtsband.com

GINO SOCCIO Remember (1982)

A Canadian disco producer of Italian heritage, Gino Soccio’s finest moment came with ‘Remember’, a pulsating sequencer assisted number featuring some vocoder augmentation and the sexy nonchalant voice of Marie-Line Vasseur over a fabulously retro-futuristic string machine. Ahead of its time, this was a forerunner of what was to emerge as Electroclash.

Available on the GINO SOCCIO album ‘Face To Face’ via Rhino Atlantic

https://www.discogs.com/artist/75922-Gino-Soccio

CHARLIE Spacer Woman (1983)

A project helmed by Maurizio Cavalieri who had been a member of the Italian group FIREFLY and co-written with Giorgio Stefani, ‘Spacer Woman’ featured a mysterious Gina X styled lead vocal over some electro break beats that unlike other Italo Disco recordings, used more colder synth sounds that were more associated with UK acts like THE HUMAN LEAGUE. Picked up by ZYX Music for international release, this was to be the only CHARLIE track released.

Available on the CHARLIE single ‘Spacer Woman’ via Mr Disc

https://www.discogs.com/artist/15971-Charlie

COREY HART Sunglasses At Night (1983)

Canadian Corey Hart is best known for ‘Sunglasses at Night’, a catchy tune with its characteristic synth arpeggio, rock guitar and cryptic lyrics apparently inspired by the studio personnel wearing sunglasses protect their eyes from the air conditioning positioned above the control desk! The song was covered in an Electroclash vein in 2001 by TIGA & ZYNTHERIUS, while the original made an appearance in an episode of ‘Stranger Things’.

Available on the COREY HART album ‘The Singles’ via EMI Music

http://www.coreyhart.com

MR FLAGIO Take A Chance (1983)

The project of Italian duo Flavio Vidulich and Giorgio Bacco (hence the moniker), the futuristic robotic vocoder opera of ‘Take A Chance’ had a subtle tinny banality that made it extremely appealing. PET SHOP BOYS borrowed its feel for the early B-side ‘A Man Could Get Arrested’ while it use of minimal rhythmic guitar and sequencers clearly had an effect on NEW ORDER’s Bernard Sumner.

Available on the MR FLAGIO single ‘Take A Chance’ via The Saifam Group

https://www.discogs.com/artist/15976-Mr-Flagio

IVAN Fotonovela (1984)

IVAN was the stage name of Spaniard Juan Carlos Ramos Vaquero and he naturally found a home for his music in Spanish speaking territories like Mexico, Colombia, Ecuador and Chile. The sunny octave vibe of ‘Fotonovela’ with its bells, strings and accordions was to be his greatest moment; indeed the Greek production duo who produce MARSHEAUX are named after this song.

Available on the IVAN album ‘Lo Mejor De’ via Sony Music

https://www.discogs.com/artist/81599-Ivan-4

P.LION Happy Children (1983)

Italian musician and singer Pietro Paolo Pelandi named himself P.LION thanks to only having Ps in his name while with his aristocratic background, his family coat of arms was a lion. The optimistic synth brass laden ‘Happy Children’ was to be his biggest song, becoming popular in France and later in the colder climes of Sweden where Italo Disco was to find an unexpected audience.

Available on the P.LION single ‘Happy Children’ via Nocolors

http://www.plionproject.com/English/New_Release.html

ALEXANDER ROBOTNICK Problèmes D’amour (1983)

Born Maurizio Dami, the Italian electronic musician was a founder member of the quirky art cabaret trio named AVIDA. ‘Problèmes D’amour’ with its clattering drum machine, swirling analogue synths and cutesy female voiced counterpoints found a cult audience. Later working in soundtracks and world music, Dami continues making electronic dance music in the present day under the ALEXANDER ROBOTNICK moniker, remixing ‘Stuck On Repeat’ for LITTLE BOOTS in 2009 along the way.

Available on the ALEXANDER ROBOTNICK single ‘Problèmes D’Amour’ via Materiali Sonori

https://www.alexander-robotnick.it

RYAN PARIS La Dolce Vita (1983)

While his real name was Fabio Roscioli, his huge hit ‘La Dolce Vita’ was written and produced for him by Pierluigi Giombini, who not only wrote songs exclusively in English but was keen to move the established Italian singer away from rock. Paris recently returned to the spotlight with ‘Love On Ice’ in collaboration with Johan Agebjorn and Sally Shapiro, a song from the soundtrack for the Swedish thriller ‘Videomannen’.

Available on the RYAN PARIS album ‘The Best Of’ via Dvmor

http://www.ryan-paris.com

SAVAGE Don’t Cry Tonight (1983)

Despite having a long music career which continues to this day, Tuscan native Roberto Zanetti is still best known for debut single ‘Don’t Cry Tonight’, a moody slice of disco lento that was hugely successful across Europe. One notable fan was Chris Lowe, who used the song to open his playlist in PET SHOP BOYS ‘Back To Mine’ mixtape collection in 2005.

Available on the SAVAGE album ‘Don’t Cry – Greatest Hits’ via ZYX Music

http://www.savage-music.it

VALERIE DORE Get Closer (1984)

The alluring tones of VALERIE DORE were actually masterminded by producer Roberto Gasparini and fronted by Monica Stucchi who lip-synched on public appearances to the vocals of Dora Carofiglio on the first two hits ‘The Night’ and ‘Get Closer’. Stucchi herself voiced her recordings after 1986 and continues performing as Valerie. Meanwhile ‘Get Closer’ itself was covered by Marc Almond with STARCLUSTER in 2016.

Available on the VALERIE DORE album ‘The Best Of’ via ZYX Music

http://www.valeriedore.it

FANCY Slice Me Nice (1984)

Under the stage name of FANCY, Manfred Alois Segieth cut a striking androgynous figure within Italo Disco, scoring an international hit with the extremely saucy ‘Slice Me Nice’. The German born Spaniard even made headway in the US Billboard Dance Charts in 1985 with ‘Chinese Eyes’ and ‘Come Inside’, while ‘Bolero’ hit the top spot in Spain. At the age of 70 in 2017, he took the Guinness world record for the highest ever pop concert in La Paz, Bolivia!

Available on the FANCY album ‘The Original Maxi-Singles Collection’ via Pokorny Music Solutions

http://fancy-online.com

OP.8 Butterfly (1984)

Originally released on Milan’s Discomagic Records, ‘Butterfly’ was Moroder influenced Italo Disco with an oriental flavour and a catchy refrain derived from Puccini. It’s so obscure that there is virtually no information about it, although it was written by Ronald Hanson, Michele D’Alessandro and Massimo Parretti while progammed by Piero Cairo. ZYX Music dug it out for a compilation in 2010.

Available on the OP.8 single ‘Butterfly’ via ZYX Music

https://www.zyxmusic.com/

RAF Black & Blue (1984)

Raffaele Riefoli actually lived in London before starting out his musical career. He scored a domestic hit with his co-write ‘Self Control’, but hit paydirt when it was covered by Italian pop enthusiast LAURA BRANIGAN. ‘Black & Blue’ was one of the highlights from his debut album called ‘Change Your Mind’ in most territories which featured slap bass and all the then-modern technological trimmings which wouldn’t have sounded out of place as a release on PET SHOP BOYS’ Spaghetti Records imprint.

Available on the RAF album ‘Self Control’ via East West Italy

http://www.raf.it

CLIO Faces (1985)

The vehicle of Italian singer Maria Chiara Perugini, the sophisticated and stylish aura of CLIO’s ‘Faces’ was written and produced by Roberto Ferrante who later founded Planet Records. With its pretty colourful melodies and punchy rhythms, it could have been mistaken for early MADONNA. The track was covered by Canadian synth duo ELECTRIC YOUTH in 2011.

Available on the compilation album ’80’s Dance Story Original Italo Hits’ (V/A) via Hot Hits

https://www.discogs.com/artist/154990-Clio

BRIAN ICE Talking To The Night (1985)

Singer and actor Fabrizio Rizzolo was the man behind the ice and ‘Talking To The Night’ was apparently composed and written in just a few minutes, using just about every Italo Disco cliché in the book, especially with its “woah-oh” vocals. A limited edition 12 inch issued on ZYX Music played from the label outwards! He later co-wrote ‘Never Be Lonely’ for Gloria Gaynor and continues a successful career in Italian TV and theatre.

Available on the BRIAN ICE album ‘Greatest Hits & Remixes’ via ZYX Music

http://www.fabriziorizzolo.it

GRANT MILLER Colder Than Ice (1985)

Sensing he could achieve another massive hit if the song had an extremely handsome frontman, FANCY made the idea reality when Indiana-born model Grant Miller-Benton was introduced to him by DIVINE. Produced by FANCY under his Tess Teiges moniker, Miller scored a debut hit in Germany when it was released by ZYX Music. A popular personality within the scene, a later single ‘Doctor For My Heart’ released in 1986 was produced by Dieter Bohlen of MODERN TALKING.

Available on the GRANT MILLER album ‘The Maxi-Singles Hit Collection’ via ZYX Music

http://grant-miller.blogspot.co.uk

CC CATCH Cause You Are Young (1986)

Caroline Catharina Müller was a German domiciled Dutch pop singer who was a member of the girl group OPTIMAL. Spotted by Dieter Bohlen of MODERN TALKING, he signed her to Hansa Records and launched her solo career. A breathy vocal and an enticing lead synth line plus a fabulous catchy chorus laced with orchestra stabs ensured that ‘Cause You Are Young’ was a big European hit.

Available on the CC CATCH album ‘The 80’s Album’ via Edel Records

http://www.cccatch.de

EDDY HUNTINGTON USSR (1986)

Hailing from Peterlee in County Durham, Cliff Richard fan and model Edward Huntington sought fame and fortune as a pop singer in Italy. Discovered by Baby Records, they took him to Milan to record the catchy ‘USSR’, written by the same production team behind DEN HARROW. Released in the rest of Europe by ZYX Music, the song unexpectedly became a hit in the Soviet Union. Huntington later returned to the UK to become a primary school teacher.

Available on the EDDY HUNTINGTON album ‘Bang Bang Baby’ via Baby Records International

https://www.facebook.com/Eddy-Huntington-Italo-Disco-138800969576918/

MODERN TALKING Cheri Cheri Lady (1986)

Comprising of ridiculously tanned singer Thomas Anders and musician Dieter Bohlen, MODERN TALKING’s overtly catchy melodic tunes like ‘You’re My Heart, You’re My Soul’, ‘Cheri Cheri Lady’ and ‘Brother Louie’ ensured they were simultaneously the most successful and most hated pop duo in West Germany. Bohlen later gained notoriety as a judge on ‘Deutschland Sucht Den Superstar’, taking on the role of Germany’s answer to Simon Cowell.

Available on the MODERN TALKING album ‘The Very Best Of’ via Sony Music

http://www.modern-talking-online.de

PAUL REIN Lady-O (1986)

Sweden’s Paul Rein was their home grown Italo Disco star and ‘Lady-O’ showed that cold weather and dark nights was no barrier to producing upbeat electronic dance music. He has since continued a career as a songwriter for artists like Christina Aguilera, Jessica Simpson and Mandy Moore, but perhaps as a reaction to his fame, his daughter Joanna is now making waves in EBM, having opened for DAF in 2016!

Available on the PAUL REIN album ‘Communicate’ via 22:22 Music

https://www.discogs.com/artist/116266-Paul-Rein

FRED VENTURA Wind Of Change (1986)

Italo Disco legend Federico Di Bonaventura began his music career with a 4 track cassette machine, a Roland Juno 60, an Oberheim DX and a passion for NEW ORDER. ‘Winds of Change’ was a rousing Italo Disco track with cowbells and big digital drums that brought him European success. He continues making music today with Paolo Gozzetti as ITALOCONNECTION who have remixed THE HUMAN LEAGUE, HURTS and KNIGHT$ amongst others.

Available on the FRED VENTURA album ‘Disco Modernism (1983 – 2008)’ via Clone Classic Cuts

https://www.facebook.com/italoconnection/

DEN HARROW Don’t Break My Heart (1987)

A play on the Italian word “denaro” meaning money, this project was the brainchild of producers Miki Chieregato and Roberto Turatti. Fronted by fashion model Stefano Zandri, it was however American singer Tom Hooker who provided the voice on the biggest hit ‘Don’t Break My Heart’. Despite Zandri admitting in 2012 that he did not sing on any of the records, he continues to make public appearances as DEN HARROW having taken singing lessons in 1998.

Available on the DEN HARROW album ‘I Miei Successi’ via DV Digital

http://www.denharrow.it

‘Italo Be Thy Name’, a Spotify Playlist compiled by ELECTRICITYCLUB.CO.UK of related tracks can be listened to at: https://open.spotify.com/user/theelectricityclub/playlist/3uUHPnMSOsUegDSnnFr7Fn

The ‘Italo Disco Legacy’ soundtrack is released by Private Records as a 2LP + DVD package, available from https://www.juno.co.uk/products/italo-disco-legacy-soundtrack/672465-01/

https://www.facebook.com/ItaloDiscoLegacy/

http://www.italo-interviews.com/

Text by Chi Ming Lai with thanks to Grit Cheraka and Viola Anastasia
12th May 2018

A Beginner’s Guide To RICHARD X

7 May 2018 /

Photo by Miles Aldridge

Producer and remixer Richard Philips, better known as Richard X, began his musical career creating bootlegs or mash-ups.

This was an illegal creative practice of combining two existing and often incongruous records to make an entirely new track. The fusion of disparate elements, where often the vocals of one recording from a particular genre were placed over the instrumental backing from another.

This became a fashionable practice in clubs; Belgium’s 2 Many DJs were among one of the more notable exponents alongside Richard X. Influenced by THE HUMAN LEAGUE and KRAFTWERK in particular, Richard X’s first notable mash-up under the name GIRLS ON TOP was ‘I Wanna Dance With Numbers’ in 2001; it dropped Whitney Houston over KRAFTWERK and inspired by the apparent elitism of the electronica scene at the start of the 21st Century.

But it was when he placed ‘Freak Like Me’ by R ‘n’ B artist Adina Howard over TUBEWAY ARMY’s ‘Are Friends Electric?’ for a bootleg entitled ‘We Don’t Give A Damn About Our Friends’ that figures within the music business realised Richard X’s Frankenstein vision might have commercial potential. Ironically, one person who didn’t was Adina Howard herself who refused permission for her vocal to be used on an officially sanctioned release. Instead, the British female pop trio SUGABABES recorded a cover version of the mash-up produced by Richard X and the rest is history.

Since then, Richard X has been approached to work with many artists, but remains selective, declining most of what he is offered and often only working on individual tracks, thanks to his own artistic assertion that “I’ve always been about singles…”

Richard X created his own production umbrella Black Melody to oversee his work and even released a collection of demos by THE HUMAN LEAGUE as ‘The Golden Hour Of The Future’ which had been shelved by Virgin Records back in 1981. Meanwhile as well as ERASURE, NINE INCH NAILS, GOLDFRAPP, MIRRORS, SAY LOU LOU and NEW ORDER, his productions and remixes have encompassed artists such varied as Will Young, Roísín Murphy, Rachel Stevens, Sam Sparro, Tiga, Jarvis Cocker and Lana Del Rey.

As a result of often working on just singular tracks with artists, Richard X has a large and diverse portfolio; ELECTRICITYCLUB.CO.UK lists eighteen of his most notable tracks, with a limit of one track per artist and presented in chronological and then alphabetical order…

SUGABABES Freak Like Me (2002)

When Richard X dropped ‘Freak Like Me’ over ‘Are Friends Electric?’, a crossover hit was just waiting to be unleashed… enter SUGABABES, modern pop’s equivalent of ‘Charlie’s Angels’. This was a period when Gary Numan was being sampled left, right and centre by the likes of BASEMENT JAXX and DJ Armand Van Helden, so this Diabolus In Musica urban hybrid helped bring him to a curious new audience.

Available on the SUGABABES album ‘Overloaded: The Singles Collection’ via Universal Music

http://sugababesmusic.com

RICHARD X vs LIBERTY X Being Nobody (2003)

A huge fan of THE HUMAN LEAGUE, Richard X continued his mash-up magic, albeit in a more reproductive manner. When the appropriately monikered LIBERTY X came knocking, he took inspiration from the various versions of ‘Being Boiled’ and put Chaka Khan’s electro-funk classic ‘Ain’t Nobody’ over the top, helped by the fact that both tunes ran at a very similar BPM of 103/104.

Available on the LIBERTY X album ‘Being Somebody’ via V2 Records

https://www.facebook.com/libertyxofficial/

RICHARD X in collaboration with DEBORAH STRICKLAND-EVANS Lemon / Lime (2003)

Deborah Evans-Strickland was best known for her deadpan vocal on THE FLYING LIZARDS’ very unusual cover of ‘Money’. Richard X dragged her out of retirement for a bizarre reinterpretation of ‘Walk On By’ as well as the Trans-Commuter Express job spec art piece ‘Lemon / Lime’. Stern but strangely alluring in her posh Essex accent, she came over like the scary HR Manager who everyone is secretly attracted to.

Available on the RICHARD X album ‘Presents His X Factor Vol1’ via Virgin Records

http://blackmelody.com

RACHEL STEVENS Some Girls (2004)

Co-written with Hannah Robinson and based on real-life music industry anecdotes, Richard X’s GOLDFRAPP-styled production on ‘Some Girls’ saw Rachel Stevens playing a wannabe on pop’s casting couch. Driven by having his GOLDFRAPP remixes rejected, it was ‘Some Girls’ that first put the icy glam electro sound into the mainstream consciousness before GOLDFRAPP themselves.

Available on the RACHEL STEVENS album ‘Come & Get It’ via Polydor Records

http://www.rachelstevensofficial.com

NINE INCH NAILS Only – Richard X Remix (2005)

“There is no you, there is only ME!” exclaimed an angry and provocative Trent Reznor on ‘Only’, but Richard X smoothed things down, brought forward the chorus and took it down the discotheque, albeit a dark gothic one! With a frantic marimba line added and an increased dance tempo, this was one of Richard X’s best crossover reworkings that still retained the original’s heavy spirit of frustration expressed as part of Reznor’s battle with alcoholism and substance abuse.

Available on the NINE INCH NAILS EP ‘Everyday Is Exactly The Same’ via Nothing Records

http://www.nin.com

LUKE HAINES Off My Rocker At The Art School Bop – Richard X Mix (2006)

Once referred to as the Adolf Hitler of Britpop by the music press, Luke Haines’ memoir ‘Bad Vibes: Britpop & My Part In Its Downfall’ declared that BLUR’s Damon Alban deserved far more to be nominated for that title! An installation of danceable pop terrorism by THE AUTEURS and BLACK BOX RECORDER leader with a full fat electro mix by Richard X, this gleefully satirised the Shoreditch club scene with an attack on its array of poseurs.

Available on the LUKE HAINES album ‘Off My Rocker At The Art School Bop’ via Fantastic Plastic

http://www.lukehaines.co.uk

PET SHOP BOYS Fugitive – Richard X Extended Mix (2006)

Although the ‘Fundamental’ album was produced by Trevor Horn, Richard X powerfully extended ‘Fugitive’ as a limited edition exclusive for the fittingly titled ‘Fundamentalism’ bonus album. PET SHOP BOYS’ own post-9/11 song, Neil Tennant recently revealed in the reissued booklet notes:“It’s about a terrorist, a terrorist whose ideology is that he believes that by killing the enemy he’s going to go to heaven”.

Available on the PET SHOP BOYS album ‘Fundamental: Further Listening 2005 – 2007’ via EMI Records

http://petshopboys.co.uk

ANNIE Songs Remind Me Of You (2009)

Having worked on-and off with Anne Lilia Berge Strand since 2004 including her breakthrough song ‘Chewing Gum’, ‘Songs Remind Me Of You’ was another fabulous tune from the Richard X / Hannah Robinson songbook. Filled with high octane electronic dance flavours, “How does it feel…to hear your songs on the radio?” asked the Norwegian songstress wispily with an exquisite devenir a gris lilt inside a spiky synthesized mix.

Available on the ANNIE album ‘Don’t Stop’ via Smalltown Supersound

https://www.facebook.com/anniemelodymusic/

ANTHONIO Annie (2009)

Conceived as a jokey publicity stunt for the Italo disco flavoured Annie single ‘Anthonio’, Richard X used its backing track to create a brilliant tongue-in-cheek response to her tale of broken holiday romance. As a modern exponent of Italo, HEARTBREAK’s charismatic vocalist Sebastian Muravchik amiably played the role of the disimpassioned Latin lover. The B-side featured a cover of THE GLITTER BAND’s ‘Angel Face’.

Available on the ANTHONIO single ‘Annie’ via Pleasure Masters

http://lexprojects.com/sebastian-is-anthonio/

SAINT ETIENNE Method Of Modern Love (2009)

With some slight similarities to Kylie Minogue’s ‘The One’ and recorded by SAINT ETIENNE for an updated singles compilation, ‘Method Of Modern Love’ was again written by Richard X with Hannah Robinson alongside Matt Prime. A long-time fan of the trio, it had only been intended for Richard X to remix ‘This Is Tomorrow’, but he ended up producing them as they opted for ‘Method Of Modern Love’ as a new single after hearing the demo.

Available on the SAINT ETIENNE album ‘London Conversations: The Best Of’ via Heavenly Records

http://www.saintetienne.com

ROÍSÍN MURPHY Parallel Lives (2009)

A superb collection of soulful 21st century electronic disco, ‘Overpowered’ was the second solo album from Roísín Murphy who found fame with MOLOKO and struck big with the international club smash ‘Sing It Back’. The Richard X helmed ‘Parallel Lives’ penetrated with some steady and deep sub-bass, providing a nice bonus to an album where Murphy had gloriously sounded not unlike Lisa Stansfield fronting PET SHOP BOYS.

Available on the ROÍSÍN MURPHY album ‘Overpowered’ via EMI Records

https://www.roisinmurphyofficial.com

DRAGONETTE Pick Up The Phone – Richard X Remix (2010)

DRAGONETTE were fronted by singer-songwriter Martina Sorbara and while ‘Pick Up The Phone’ was a summery upbeat tune, the Canadian popsters took a breather from their usual Euro-leaning sound with electric guitars subbing for the usual synths. But this made things perfect for a superior Richard X remix to stick back in all the electronic dance elements that the band were actually best known for.

Available on the DRAGONETTE album ‘Mixin To Thrill’ via Dragonette Inc

http://www.dragonetteonline.com

GOLDFRAPP Alive (2010)

From ‘Head First’, the poppiest album in the GOLDFRAPP catalogue, the Richard X assisted ‘Alive’ allowed Alison Goldfrapp to explore her Olivia Newton-John fixation with a tune that recalled ‘I’m Alive’, a song by ELECTRIC LIGHT ORCHESTRA for the film ‘Xanadu’. The synth solo was big and fat with power chords plus a great middle eight to boot. With references to Billy Joel as well, ‘Alive’ sounded slightly more Oberheim than Korg…

Available on the GOLDFRAPP album ‘Head First’ via Mute Records

https://www.goldfrapp.com

THE HUNDRED IN THE HANDS Young Aren’t Young (2010)

Hailing from Brooklyn, THE HUNDRED IN THE HANDS possessed a sultry new wave fusion with occasional gothic overtones. Despite having aspirations to be more like Warp Records label mates BROADCAST, Richard X produced a number of key songs on their self-titled debut. ‘Young Aren’t Young’ was a dreamy NEW ORDER influenced number layered with Bernard Sumner styled frenetic guitar playing.

Available on THE HUNDRED IN THE HANDS album ‘The Hundred In The Hands’ via Warp Records

https://www.facebook.com/thehundredinthehands/

SOPHIE ELLIS-BEXTOR Starlight (2011)

Sophie Ellis-Bextor once fronted an indie rock band called THEAUDIENCE. Yet another Richard X and Hannah Robinson co-composition, the glitterball sparkle of ‘Starlight’ utilised a Linn Drum led rhythm section and sweeping synth strings for a dreamy electronic pop concoction. Alluringly finding “heaven in the dark”, it was one of those catchy Kylie-esque summer holiday disco anthems.

Available on SOPHIE ELLIS-BEXTOR album ‘Make A Scene’ via EBGB’s

http://sophieellisbextor.net

MIRRORS Into The Heart – Richard X Radio Mix (2011)

With a determined art for art’s sake concept for their ‘Lights & Offerings’ long player, the original sessions with Richard X were abandoned when MIRRORS chose to produce themselves, although he did contribute a Radio Mix for the reissued single ‘Into The Heart’; less intense and claustrophobic than the quartet’s album version, the majestic singalong proved that Synth Britannia influences were and still are nothing to be ashamed of.

Available on the MIRRORS single ‘Into the Heart’ via Skint Records

https://www.facebook.com/theworldofmirrors/

THE SOUND OF ARROWS Lost City (2011)

THE SOUND OF ARROWS are Stefan Storm and Oskar Gullstrand, a Swedish electronic pop duo described as “Disney meets Brokeback Mountain” and “the HURTS you can dance to” by Popjustice. Like PET SHOP BOYS fed with Fox’s Glacier Mints, the Richard X produced widescreen instrumental ‘Lost City’ was fittingly dramatic, although its main melodic theme may have been a bit too ‘Top Gun’ with synths for some listeners…

Available on THE SOUND OF ARROWS album ‘Voyage’ via Skies Above

http://www.thesoundofarrows.com

ERASURE Sacred (2014)

Produced by Richard X, ‘The Violet Flame’ saw ERASURE return to form with their fourteenth album and express an infectious zest for the future with songs seeded via Vince Clarke’s pre-recorded dance grooves. With ‘Sacred’, this was another classic ERASURE pop tune, although the bizarre phrasal spectre of ‘Sweet Child O Mine’ by GUNS N ROSES could be found in the verse of Andy Bell’s vocal topline!

Available on the ERASURE album ‘The Violet Flame’ via Mute Artists

http://www.erasureinfo.com

NEW ORDER Plastic (2015)

For the Mancunians’ first album of new material without estranged founder member Peter Hook, Bernard Sumner promised a return to electronic music. That was certainly delivered on with ‘Plastic’, a full-on throbbing seven minute electro number in the vein of Giorgio Moroder, solidly mixed by Richard X with blippy echoes of ‘Mr Disco’. Dealing with the issue of superficiality in relationships, it declared “you’re like plastic, you’re artificial…”

Available on the NEW ORDER album ‘Music Complete’ via Mute Artists

http://www.neworder.com

NINA Beyond Memory (2016)

Produced by Richard X and Sunglasses Kid, a nocturnal warmth exuded from ‘Beyond Memory’, demonstrating how German songstress NINA’s pulsating electronic pop acted as a bridge between the sub-genres of synthwave and synthpop. With her vocals deliciously slicing the moonlit atmosphere with a superbly breathy chorus, ‘Beyond Memory’ reflected on the lifelong impact of past relationships.

Available on the NINA album ‘Sleepwalking’ via Aztec Records

http://www.ninamusic.co.uk/

Text by Chi Ming Lai
7th May 2018

FISCHERSPOONER Sir

20 February 2018 /

Having started as a group of performers, the enterprise that is now FISCHERSPOONER consists of core members Warren Fischer and Casey Spooner, who are joined by a troupe of dancers and singers.

Fischer is a classically trained musician, while Spooner has his fingers in many pies, including performing in experimental theatre, fashion and producing various types of art.

Their first album came in 2001, named ‘1’, cleverly released on many labels, to be followed by ‘Odyssey’

With their third opus, ‘Entertainment’, the duo went to Jeff Saltzman to aid the production and the current offering ‘Sir’ is being produced by none other than Michael Stipe from REM.

‘Sir’ follows Spooner’s art exhibition of the same name, which centres around nudity, featuring himself and many of his former partners, friends and lovers in assorted sorts of nakedness. “We’re living through this sexual revolution. Everyone has a camera. People are redrawing their boundaries of what they share and what they don’t” claims Spooner, introducing his saucy enterprise, to which the newest album is a perfect accompaniment.

With the tone being “aggressively homosexual”, with love moans being used as part of the soundtrack, Spooner showcases the liberated states of today’s society.

‘Have Fun Tonight’ heralds the album as the first single, and what an entrance it is! Big, bold, full of defined synth but not devoid of good melody and sexually charged vocals by Spooner. Mantric drum rolls and arpeggiated electronic elements flow freely throughout this sublime dance track, leading into sweet oblivion.

‘Togetherness’ with CHAIRLIFT’s Caroline Polachek, sounds like vintage PET SHOP BOYS meets GOLDFRAPP, with love pains present. ‘Butterscotch Goddam’ describes the vocalist’s long standing relationship which ended, resulting in Spooner’s liberation and the discovery of endless sensual possibilities.

The apparent sleazy Brazilian trysts are being described in ear-ringing ‘Top Brazil’, which marries marvellous synth a la DEPECHE MODE with filthy lyrics, as one can never have enough of gay sex! ‘Stranger Strange’ with its offbeat tribal simplicity boils up to a hallucinating psychedelic plea to be “fixed up”, while ‘Everything Is Just Alright’ brings a heavier synth line into play.

Multiple vocals on ‘Discreet’ frolic within the realms of simple melody depicting the urgency of “now” in sexual relations, leading gently onto ‘Strut’ with its club feel euphoria and contributions from Juho Paalosmaa of VILLA NAH and SIN COS TAN. While Spooner admits: ‘I Need Love’, he also needs to ‘Get It On’.

Andy LeMaster joins in on ‘Try Again’; an arpeggiated gem full of sadness in the lyrical content, where the desperate cries for “everything I ever wanted, everything I ever needed” prevail.

‘Oh Rio’ with Holly Miranda closes the opus with an alternative twist to wrap up the record of sexual freedom, the power of choice and the beauty of partying and being able to do what one wishes, no strings attached.

Spooner muses: “When I started, the record was optimistic because I was in a happy, open, long-term relationship”, but it wasn’t to be; otherwise the eclectic, sex laden product would never surface. Fischer agrees with “The best thing that happened to this record is you getting dumped.”

‘Sir’ marks the time to play and explore and Spooner is grabbing the opportunities with both hands: “Everyone thinks I’m having a midlife crisis, and maybe I am”…

And if it wasn’t for his midlife crisis, we wouldn’t be listening to the marvel that ‘Sir’ is!

‘Sir’ is released by Ultra Records

https://fischerspooner.com

https://www.facebook.com/FischerspoonerMusic/

https://twitter.com/fischerspooner

https://www.instagram.com/fischerspooner/

Text by Monika Izabela Trigwell
20th February 2018

A Short Conversation with KNIGHT$

4 January 2018 /

 

Shiny danceable electronic pop is what KNIGHT$ is all about and as the vehicle of James Knights, formally of SCARLET SOHO, his ethos is to make synthwaves with his brand of sparkly Britalo!

It’s been a busy time for the Winchester based singer/songwriter, with his first two releases ‘What’s Your Poison?’ and ‘Alligator’ gaining airplay on internet radio. Meanwhile, he also provided lead vocals for the current incarnation of veteran German electropopsters BOYTRONIC on their comeback album ‘Jewel’. Coming over like the love child of Richard Butler and Neil Tennant, the crowd pleasing nature of James Knights himself has made him a must-see live act, while the music of KNIGHT$ has that unashamedly glitterball disco drive.

Having just returned from a successful German tour opening for WOLFSHEIM’s Peter Heppner, James Knights unpacked his suitcase and kindly chatted about his upcoming plans for KNIGHT$…

You’ve described the music of KNIGHT$ as Britalo, what led you to pursue your new poptastic direction?

When my previous project went on a break, it was important to take some time out and think about what to do. I knew I would be the main writer/performer in KNIGHT$, so I wanted to create an alter ego to hide behind, someone very different from me in real life. I toured mainland Europe a few years ago, and I was introduced to some older pop music we never had over here in the UK. This Italo sound inspired me for sure, along with so many US one-hit wonders and some Synthwave tracks, plus Falco, Gazebo, Stephen Falken etc. At the time, I needed something to drag me away from all the music I knew before, and this captured my imagination and inspired me to be creative again.

There’s an air of ‘American Gigolo’ both aurally and visually within your music?

What can I say? It’s not intentional, but I guess there’s something about that kind of vibe I like to take with us on the stage. Every time you perform you have a chance to change the whole ambience of a venue. I see this as a challenge. I love it!

You appear to place as much importance on videos and a good live presentation as the music, what’s your thinking behind this?

We’re in such a visual time. I consume music with my ears and eyes and hope other people do the same! I know I can write a song, but that’s just one part of the role.

Your first two releases ‘What’s Your Poison?’ and ‘Alligator’ were quite a bit more sparkly than some of your previous work with SCARLET SOHO? What are the stories behind the title tunes?

‘What’s Your Poison?’ and ‘Alligator’ were some of the first tracks I wrote as KNIGHT$. ‘Alligator’ is just a little anecdote about something we all experience from time to time, the one-sided conversation with someone who doesn’t listen! ‘What’s Your Poison?’ was a bit of a slight on today’s dating culture.

I guess I thought people would have a better idea of finding the perfect date by offering people drinks and judging them on their choice! Gotta be better than Tinder!

Songs like ‘Gigolo’ and ‘Two Steps From Heartache’ indicate that what became the KNIGHT$ sound was omnipresent in SCARLET SOHO. How do you look back on that period and what the band achieved?

SCARLET SOHO was a way of life for anyone involved. For almost 15 years, we were making music together. We were very young when we started the project, and learned a lot about writing, recording, live shows and the business. You could look back and say mistakes were made along the way of course! I’m very proud to have done it.

What have been the main differences for you creatively between working solo and within a band format?

I think working alone has made the process a bit slicker perhaps. I’m always on the move when I demo tracks, and I like writing music on the train and stuff. With a band, you can deliberate over ideas for too long.

Are you a softsynth or hardware man? Has there been too much over romanticisation of vintage gear maybe?

I programme everything on my laptop with some approximated sounds. Then, when the arrangement is complete, I take the demo, all the vocals, and all the MIDI files to a studio so we can bounce the synth sounds through vintage synths and begin mixing. If you have access to the real gear you should use it. I mean, why not?

NEW ORDER’s ‘Subculture’, which appears to be the inspiration for ‘So Cold’, is their most under rated song? Discuss!

Love it, great track of course and I love NEW ORDER! I hope I don’t disappoint you here though… the biggest influence on ‘So Cold’ was 70s disco!

You’re known for performing covers which have ranged from ‘Uncivilized’ by dark Canadian trailblazers PSYCHE to PET SHOP BOYS ‘Heart’, you’ve even sung U2’s ‘New Year’s Day’ with BOYTRONIC. How do you choose your cover versions and are there any others you would like to attempt?

If it sounds good I’ll have a go! There are loads I’d like to try… it’s just finding the time. ‘Don’t Cry Tonight’ by SAVAGE would be a good one, ‘Monday Morning’ by FLEETWOOD MAC I like to sing, and the Spanish version of ‘Toy Soldiers’ by MARTIKA, topped off with ‘I.O.U’ by FREEEZ!

You have a close bond with Germany and a number of its veteran electronic acts, why do you think this has managed to develop over the years?

I performed in Germany for the first time in 2006, shortly after that SCARLET SOHO signed to a German label and we spent more time over there. So naturally we met more people and were introduced to music and bands we hadn’t heard before which was really exciting. We always felt very at home.

For those who have not witnessed a KNIGHT$ live performance, what can they expect from you?

The stage show grows in strength the more time I rehearse with the band, I hope to have some new songs in the set and play for a little longer than usual! Maybe a costume change or two midway through, or a special guest.

What’s next for KNIGHT$ on the release schedule? Does the album format figure in your plans or are EPs the way to go in the future?

I would like to make an album as most of the songs are ready now. I’m talking to some labels and we’ll see what happens. If not, I will continue with EPs on vinyl!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to James Knights

The ‘Alligator’ and ‘What’s Your Poison?’ EPs are available in vinyl and digital formats from https://knights101.bandcamp.com/

http://knights101.com/

https://www.facebook.com/Knights101/

https://twitter.com/JPSKNIGHTS

http://knightstore.bigcartel.com

Text and Interview by Chi Ming Lai
4th January 2018

25 21ST CENTURY SYNTH COVERS

1 January 2018 /


“The medium of reinterpretation” is still very much present in the 21st Century.

There have been albums of cover versions from the likes of SIMPLE MINDS, ERASURE, MIDGE URE and Claudia Brücken celebrating their influences, as well as numerous various artists collections paying tribute to particular acts.

However, a newish phenomenon of covering an entire album has appeared in more recent years, something which MARSHEAUX, BECKY BECKY and CIRCUIT 3 have attempted on works by DEPECHE MODE, THE KNIFE and YAZOO respectively.

On the other side of the coin in recognition of the cultural impact of the classic synth era, the Anti-Christ Superstar Marilyn Manson covered SOFT CELL’s cover of ‘Tainted Love’ but added more shouting, while David Grey took their own ‘Say Hello Wave Goodbye’ and turned it into a lengthy Dylan-esque ballad.

There has also been a trend for girl groups to cover songs from the period with GIRLS ALOUD, THE SATURDAYS and RED BLOODED WOMEN being among those introducing these numbers to a new younger audience.

So as a follow-up to the 25 Classic Synth Covers listing, here is ELECTRICITYCLUB.CO.UK’s selection taken from reinterpretations recorded from 2000 to the present day, restricted to one song per artist moniker and presented in chronological order.

SCHNEIDER TM va KPTMICHIGAN The Light 3000 (2000)

Morrissey was once quoted as saying there was “nothing more repellent than the synthesizer”, but if THE SMITHS had gone electro, would they have sounded like this and Stephen Patrick thrown himself in front of that ten ton truck? Germany’s SCHNEIDER TM aka Dirk Dresselhaus reconstructed ‘There Is A Light That Never Goes Out’ to a series of minimal blips, blops and robotics to configure ‘The Light 3000’ with British producer KPTMICHIGAN.

Available on the album ‘Binokular’ via https://mirrorworldmusic.bandcamp.com/

http://www.cityslang.com/schneider-tm/biography

GOLDFRAPP Yes Sir (2003)

A breathy Euro disco classic made famous by sultry Spanish vocal duo BACCARA, Alison Goldfrapp and Will Gregory’s take on this cheesy but enjoyable disco standard came over like The Cheeky Girls at The Nuremburg rally! Now that’s a horrifying vision! All traces of ‘Yes Sir I Can Boogie’ apart from the original lyrics were rendered missing in action as the stern Ms Goldfrapp played the role of the thigh booted dominatrix on this highly original cover.

Available on the single ‘Twist’ via Mute Records

http://goldfrapp.com/

INFANTJOY featuring SARAH NIXEY Ghosts (2005)

When BLACK BOX RECORDER went on hiatus, Sarah Nixey recorded a beautifully spacey cover of JAPAN’s Ghosts with INFANTJOY whose James Banbury became her main collaborator on her 2007 debut solo album ‘Sing Memory’. The duo’s other member was ZTT conceptualist Paul Morley. MIDI-ed up and into the groove, Nixey later also recorded THE HUMAN LEAGUE’s ‘The Black Hit Of Space’.

Available on the album ‘With’ via serviceAV

http://infantjoy.com

DIE KRUPPS featuring CLIENT Der Amboss (2005)

Of this mighty industrialised cover, Ralf Dörper said: “When I first heard ‘The Anvil’ (‘Der Amboss’) by VISAGE, I thought: “what a perfect song for DIE KRUPPS” – it just needed more sweat, more steel. And it was not before 2005 when DIE KRUPPS were asked to play a few 25-year anniversary shows that I remembered ‘Der Amboss’… and as I was a big CLIENT fan at that time, I thought it would be a good opportunity to ask Fräulein B for assistance in the vocal department”.

Available on the album ‘Too Much History Vol1’ via Metropolis Records

http://www.diekrupps.de/

FROST Messages (2007)

Comprising of Aggie Peterson and Per Martinsen, FROST have described their music as “upbeat space-pop”. Much of their own material like ‘Klong’, ‘Alphabet’ and ‘Sleepwalker’ exuded a perfect soundtrack for those long Nordic nights. Meanwhile their ultra-cool cover of OMD’s ‘Messages’ embraced that wintery atmosphere, while providing a pulsing backbone of icy synths to accompany Peterson’s alluringly nonchalant vocal.

Available on the album ‘Love! Revolution!’ via Frost World Recordings

https://www.facebook.com/frostnorway/

ONETWO Have A Cigar (2007)

In this “Pink Floyd Goes To Hollywood” styled rework, Claudia Brücken revisited her ZTT roots with this powerful and danceable version of Roger Waters’ commentary on music business hypocrisy. ‘Have A Cigar’ showed a turn of feistiness and aggression not normally associated with the usually more serene timbres of Claudia Brücken and Paul Humphreys’ ONETWO project. But by welcoming pleasure into the dome, they did a fine cover version.

Available on the album ‘Instead’ via https://theremusic.bandcamp.com/

http://www.theremusic.com/onetwo/onetwo

BLACK NAIL CABARET Umbrella (2008)

Budapest’s BLACK NAIL CABARET began life as an all-female duo of Emese Illes-Arvai on vocals and Sophie Tarr on keyboards, with their first online offering being a darkwave cover of RIHANNA’s ‘Umbrella’. Already very synthy in the Barbadian starlet’s own version, it showcased their brooding form of electro which subsequently impressed enough to earn support slots with COVENANT, DE/VISION and CAMOUFLAGE while producing three albums of self-penned material so far.

Available on the album ‘The Covers’ via https://blacknailcabaret.bandcamp.com/

http://www.blacknailcabaret.com

CHINA CRISIS Starry Eyed (2008)

Liverpudlian easy listening crooner Michael Holliday was the second person to have a UK No1 written by Burt Bacharach and Hal David, the first being Perry Como with ‘Magic Moments’. His second UK No1 penned by Earl Shuman and Mort Garson was a romantic guilty pleasure. CHINA CRISIS pledged their Scouse Honour with this jaunty synth / drum machine driven rendition of ‘Starry Eyed’ layered with reverbed synthbass warbles and harmonious vocals.

Available on the album ‘Liverpool – The Number Ones Album’ (V/A) via EMI Records

www.facebook.com/pages/China-Crisis/295592467251068

LITTLE BOOTS Love Kills (2009)

LITTLE BOOTS gave a dynamically poptastic rendition of Giorgio Moroder and Freddie Mercury’s only collaboration from 1984, retaining its poignant melancholic quality while adding a vibrant and danceable electronic slant. The recreation of Richie Zito’s guitar solo on synths was wondrous as was the looser swirly groove. While Blackpool-born Victoria Hesketh didn’t have the voice of Mercury, her wispy innocence added its own touching qualities to ‘Love Kills’.

Available on the EP ‘Illuminations’ via Elektra Records

www.littlebootsmusic.co.uk

PET SHOP BOYS Viva La Vida (2009)

Yuck, it’s Chris Martin and Co but didn’t Neil Tennant and Chris Lowe do well? Merging possibly COLDPLAY’s best song with the synth riff from their own Latino disco romp ‘Domino Dancing’, ‘Viva La Vida’ was turned into a stomping but still anthemic number which perhaps had more touches of affection than PET SHOP BOYS‘ marvellous but allegedly two fingers Hi-NRG rendition of U2’s ‘Where The Streets Have No Name’. So altogether now: “Woah-oh, ooh-ooah!”

Available on the album ‘Yes: Further Listening 2008-2010’ via EMI Records

http://petshopboys.co.uk

DURAN DURAN Boys Keep Swinging (2010)

No strangers to raiding the Bowie songbook having previously tackled ‘Fame’ in 1981, DURAN DURAN however blotted their copy book with their 1995 covers LP ‘Thank You’. They refound their stride with the return-to-form album ‘All You Need Is Now’, but just before that, this superb reinterpretation of ‘Boys Keep Swinging’ reconnected them to their New Romantic roots with washes of Nick Rhodes’ swimmy Crumar string machine and John Taylor’s syncopated bass runs.

Available on the album ‘We Were So Turned On: A Tribute To David Bowie’ via Manimal Vinyl

http://www.duranduran.com

LADYTRON Little Black Angel (2010)

This frantically paced cover of controversial neofolk band DEATH IN JUNE was recorded for the LADYTRON ‘Best Of 00-10’ collection and purposely uncredited. The antithesis of the midtempo atmospherics of ‘Gravity The Seducer’, this cutting four-to-the-floor romp was the last of the quartet’s in-yer-face tracks in a wind down of the harder ‘Velocifero’ era. With the multi-ethnic combo subverting the meaning of ‘Little Black Angel’, it deliberately bore no resemblance to the original.

Available on the album ‘Best of 00-10’ via Nettwerk Records

http://www.ladytron.com

GAZELLE TWIN The Eternal (2011)

‘The Eternal’ from ‘Closer’, the final album by JOY DIVISION, was one of the most fragile, funereal collages of beauty ever committed to vinyl. But in 2011, the mysterious Brighton based songstress GAZELLE TWIN reworked this cult classic and made it even more haunting! Replacing the piano motif with eerily chilling synth and holding it together within an echoing sonic cathedral, she paid due respect to the song while adding her own understated operatic stylings.

Available on the EP ‘I Am Shell I Am Bone’ via Anti-Ghost Moon Ray Records

http://www.gazelletwin.com

MIRRORS Something On Your Mind (2011)

On their only album ‘Lights & Offerings’, MIRRORS revealed an interesting musical diversion with this haunting take of a rootsy country number originally recorded by Karen Dalton. Written by the late Dino Valenti of psychedelic rockers QUICKSILVER MESSENGER SERVICE, ‘Something On Your Mind’ was a touching ballad with its tortured yearning suiting the quartet’s pop noir aspirations. Ally Young said: “It was very nice for us to be able to apply our aesthetic to someone else’s song.”

Available on the album ‘Lights & Offerings’ via Skint Records

http://mirrorsofficial.bandcamp.com/

OMD VCR (2011)

Indie stoners THE XX had a minimalist approach to their sound which Andy McCluskey said was “really quite impressive”. This bareness made their material quite well suited for reworking in the style of classic OMD. ‘VCR’ had Paul Humphreys taking charge of the synths while McCluskey dusted off his bass guitar and concentrated on vocals. McCluskey added: “People go ‘how did OMD influence THE XX?’… but have you listened to ‘4-Neu’? Have you listened to some of the really simple, stripped down B-sides?”

Available on the EP ‘History Of Modern (Part I)’ via Blue Noise

http://www.omd.uk.com

I SPEAK MACHINE My Sex (2013)

As I SPEAK MACHINE, Tara Busch has been known for her haunting and occasionally downright bizarre live covers of songs as diverse as ‘Cars’, ‘Our House’, ‘The Sound Of Silence’ and ‘Ticket To Ride’. For a JOHN FOXX tribute EP which also featured GAZELLE TWIN, she turned ‘My Sex’, the closing number from the debut ULTRAVOX! long player, into a cacophony of wailing soprano and dystopian synths that was more than suitable for a horror flick.

Available on the EP ‘Exponentialism’ (V/A) via Metamatic Records

http://www.ispeakmachine.com

NOBLESSE OBLIGE Hotel California (2013)

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

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

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

I AM SNOW ANGEL I’m On Fire (2014)

I AM SNOW ANGEL is the project of Brooklyn based producer Julie Kathryn; her debut album ‘Crocodile’ was a lush sounding affair and could easily be mistaken as a product of Scandinavia were it not for her distinctly Trans-Atlantic drawl. Already full of surprises, to close the long player, out popped a countrified drum ‘n’ bass take of BRUCE SPRINGSTEEN’s ‘I’m On Fire’! Quite what The Boss would have made of it, no-one is sure but it was quietly subversive…

Available on the album ‘Crocodile’ via I Am Snow Angel

http://iamsnowangel.com/

MACHINISTA Heroes (2014)

Reinterpreting any Bowie number is fraught with the possibility of negative feedback and MACHINISTA’s take on ‘Heroes’ set tongues wagging. Recorded as the duo’s calling card when experienced Swedish musicians John Lindqwister and Richard Flow first came together, electronic pulses combined with assorted synthetic textures which when amalgamated with Lindqwister’s spirited vocal, produced a respectful and yes, good version of an iconic song.

Available on the album ‘Xenoglossy’ via Analogue Trash

http://www.machinistamusic.com

NIGHT CLUB Need You Tonight (2014)

Comprising of frisky vocalist Emily Kavanaugh and moody producer Mark Brooks, NIGHT CLUB simply cut to the chase with their enjoyable electronic cover of INXS’ ‘Need You Tonight’. Here, the familiar guitar riff was amusingly transposed into a series of synth stabs before mutating into a mutant Morse code. It wasn’t rock ‘n’ roll but we liked it! Purists were horrified, but history has proved the best cover versions always do a spot of genre and instrumentation hopping.

Available on the EP ‘Black Leather Heart’ via http://nightclubband.com/album/black-leather-heart

http://www.nightclubband.com

MARSHEAUX Monument (2015)

The MARSHEAUX reworking of DEPECHE MODE’s second album ‘A Broken Frame’ shed new light on Martin Gore’s first long form adventure as songwriter and affirmed that numbers such as ‘My Secret Garden’ and ‘The Sun & The Rainfall’ were just great songs. But ‘Monument’ was an example of a cover outstripping the original and given additional political resonance with the economic situation close to home that the Greek synth maidens found themselves living in at the time of its recording.

Available on the album ‘A Broken Frame’ via Undo Records

http://www.marsheaux.com/

METROLAND Close To Me (2015)

Needing to be heard to be believed, this rather inventive and charming cover of THE CURE’s ‘Close To Me’ by Belgium’s favourite passengers METROLAND utilised a selection of male and female computer voice generators to provide the lead vocal, in a move likely to upset the majority of real music purists. Meanwhile, the hidden melodies shone much more brightly than in the goth-laden original, thanks to its wonderful and clever electronic arrangement.

Available on the album ‘A Strange Play – An Alfa Matrix Tribute To The Cure’ (V/A) via https://alfamatrix.bandcamp.com/album/a-strange-play-an-alfa-matrix-tribute-to-the-cure

http://www.metrolandmusic.com/

JOHAN BAECKSTRÖM Jerusalem (2016)

One of DAILY PLANET’s main inspirations was cult UK synth trio WHITE DOOR, who released just one album ‘Windows’ in 1983. So when their chief synthesist Johan Baeckström was needing tracks to include on his ‘Like Before’ EP, the almost choir boy overtures of ‘Jerusalem’ was a natural choice for a cover version. Of course, this was not the first time Baeckström had mined the WHITE DOOR back catalogue as the more halcyon ‘School Days’ adorned the flip of his debut solo single ‘Come With Me’.

Available on the EP ‘Like Before EP’ via Progress Productions

https://www.facebook.com/bstrommusic/

THE FRIXION Under A Cherry Moon (2017)

Forming in 2016, seasoned vocalist Gene Serene and producer Lloyd Price’s combined sound delightfully borrowed from both classic synthpop and Weimar Cabaret on THE FRIXION’s self-titled EP debut. From it, a tribute to The Purple One came with this touching take of his ‘Under The Cherry Moon’, highlighting PRINCE’s often hidden spiritual connection to European pop forms and recalling ‘The Rhythm Divine’, YELLO’s epic collaboration with Shirley Bassey.

Available on the EP ‘The Frixion’ via https://thefrixion.bandcamp.com/

https://www.facebook.com/TheFrixion/

KALEIDA 99 Luftballons (2017)

Moody electronic duo KALEIDA first came to wider attention opening for RÓISÍN MURPHY in 2015. Covers have always been part of Christina Wood and Cicely Goulder’s repertoire with ‘A Forest’ and ‘Take Me To The River’ being among them. KALEIDA’s sparse rendition of NENA’s ‘99 Luftballons’ earned kudos for being very different and was included in the soundtrack of the Cold War spy drama ‘Atomic Blonde’, hauntingly highlighting the currently relevant nuclear apocalypse warning in the lyric.

Available on the album ‘Tear The Roots’ via https://kaleida.bandcamp.com

http://kaleidamusic.com

ELECTRICITYCLUB.CO.UK’s ‘A Fistful Of Electronic Covers’ featuring reinterpretations through the ages can be listened to on Spotify at https://open.spotify.com/playlist/12XFwF5iuLj3Jl7Tj2GTpE

Text by Chi Ming Lai
1st January 2018

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