The tale of WOLFSHEIM will be known to any self-respecting lover of darker electronica, although relatively alien to English listeners, unless one had European connections or sought after more unusual sounds outside Britain in the last two decades of the 20th Century.
The Hamburg based duo with the superb voice of Peter Heppner and hit producing magician Markus Reinhardt released numerous gems such as ‘Once In A Lifetime’ or ‘The Sparrows & The Nightingales’, turning out superb albums, with ‘Spectators’ or ‘Casting Shadows’ to name just a couple. But the good streak wasn’t to last, with the group disbanding into a monumental hiatus, seeing Heppner going solo or helping on other artist’s releases, with that ever haunting voice of his; Reinhardt stayed somewhat behind, only to return for what he calls “his reinvention”.
“The end of WOLFSHEIM motivated me to reinvent myself. A process that was urgently needed. With RENARD, I’m more with myself. My album combines the sound and mood of the 80s with the stylistic devices of today.”
Any sound manipulator needs a vocalist to showcase the uniqueness of their work and RENARD doesn’t settle on one. Why stick to the same voice when you are in a position to pick who you’d like to really bring variety and much needed diversity to your output? ‘Waking Up In A Different World’ is a debut, but it’s unlike any other debut, as in this case the debutant is not an inexperienced musician, promoting unknown vocalists.
So for the first single, Reinhardt chooses ‘Travel In Time’ with Pascal Finkenauer to take the reins of the vocals. A fellow German songwriter, guitarist and vocalist, Finkenauer’s melancholic voice sounds mistakenly like Heppner’s, bringing somewhat confusing connotations. In previous outings, Finkenauer can sound more or less like the original WOLFSHEIM boy, but one has to question the sense in this particular choice, especially with Reinhardt’s pledge to be more like himself on this record.
Nevertheless, this is a magnificent song, with a great dose of sorrow and longing. One cannot reject the obvious WOLFSHEIM connotations in the arrangement; it’s like the band have been resurrected for one tune. Well, if he can’t use the WOLFSHEIM name, then…
Joseh features on ‘Junkyards’, where guitar leads the SUEDE-esque intro, blossoming into an easy listening piece where the voice doesn’t sound like Heppner’s, but more natural and free flowing.
Joseh also guests on ‘The Meissen Figurine’, which combines a coalescence of modern elements with vintage components over a moderately unobtrusive tune, while Marietta Fafouti finds herself ‘Restless’. A prolific Greek composer, songwriter, and a well-known figure in her native land, Fafouti sings her soul away over a simplistic melody.
DUBSTAR’s Sarah Blackwood wrote the melody and lyrics to ‘Heresy’, which is commensurate with her own band’s output, both currently and back in the day. The song was written ten years ago and by Blackwood’s own admission containing words very personal to her. As always, it is superbly simplistic, cleverly put together and sung with the heart; the heart which “will have a speaking part, the first time in ages”.
Marian Gold of ALPHAVILLE joins the party on ‘Hotel’. With its NEW ORDER-like guitar presence, the song actually brings back the good old days when the German collective ruled with ‘Big In Japan’. Gold returns on ‘Damn Happy’ where he’s clearly “happy to be unhappy”, sadly in a quite forgettable manner. Interestingly enough, the production nods towards SUEDE again it its execution, although the song itself is missing the vital ingredient to make it worth replaying.
Thankfully, Eliza Hiscox of ROYALCHORD leads with the magnificent ‘My Heart’s Still Shaking’ which is not just magic in its vocal delivery but also in the symbiosis of the instrumentation and her voice. The closing ‘Intelligent Design’ ushers in a heavy plucked bass synth, progressing gently over eight bars of pure joy with yodelled voices, sculpting the ending beautifully.
Although altogether the album is a rather mixed bag, RENARD really is ‘Waking Up In A Different World’, bringing this multi-faceted, emotion laden production into life in the current climate of uncertainty, fear and new reality. May he achieve similar success to Peter Heppner with his solo ventures.
As a gesture of solidarity with fellow humans, DUBSTAR present ‘Hygiene Strip’.
“’Hygiene Strip’ was created at the height of the 2020 UK lockdown” said Sarah Blackwood to ELECTRICITYCLUB.CO.UK, “The writing, recording and video had to be done remotely, and it is the first collaboration with Stephen Hague and DUBSTAR to be released since the ’90s.”
Written by Sarah Blackwood, Chris Wilkie and Stephen Hague, the song itself is classic DUBSTAR and characterised by Blackwood’s distinctively forlorn vocal presence. But there is also the subtle lifting air of PET SHOP BOYS looming to offer some hope in the haze of melancholy.
Hygiene strips of course have become common place now to remind the population of social distancing but of course, they could also be metaphorically referring to the removal of personal protective clothing for sterilisation or the role of face coverings, actions that ultimately affect life.
The self-made lyric video is a striking monochromatic affair highlighting the emotional tension and psychological effects of the worldwide lockdown; it concludes with Miss Blackwood starkly masking up…
Stephen Hague produced DUBSTAR’s first two albums ‘Disgraceful’ and ‘Goodbye’ as well as their biggest hit singles ‘Stars’ and ‘Not So Manic Now’. Now domiciled on the South Coast of England, the American became best known for working with OMD, PET SHOP BOYS, NEW ORDER and ERASURE.
While Hague has not worked with DUBSTAR since 1997, he and Sarah Blackwood have remained in contact over the years, so a recording reunion was almost inevitable. The 2018 comeback ‘One’ was produced by Youth but while new DUBSTAR material is being written and recorded, the release schedule has yet to be confirmed.
There is nothing like the other side of life. As a companion to its favourite 25 Classic Synth B-sides, ELECTRICITYCLUB.CO.UK presents a listing looking at the 21st Century equivalent.
B-sides often take on a cult following, provoking discussions among fans about why they might have missed inclusion on the parent album. On why artists occasionally overlook a track when it is clearly good enough, Richard Silverthorn of MESH said “Sometimes you can’t see the wood for the trees”. Then there are the occasional abstract studio experiments which often fail but occasionally work and the occasional cover versions which don’t always find favour with some listeners but are infinitely more preferable over pointless remixes of the A-side!
But how is a modern B-side been defined? There is a wider definition now due to digital and streaming formats, so they can include flipsides of vinyl, bonus tracks on CD singles and non-album tracks released as part of a download single or EP bundle. Despite all this, the term “B-side”, like “album” and “video”, still remains.
So for the purposes of this listing as before with the 25 Classic Synth B-sides, B-sides featured on the original issue of a full length album, or subsequently included on a new one are NOT included. However, those added as bonus tracks on later reissues, deluxe editions or compilations are permitted. Rules are good, rules help control the fun! ?
So with a restriction of one track per artist moniker, presented in date and then alphabetical order within, these are ELECTRICITYCLUB.CO.UK’s 25 Synth B-Sides Of The 21st Century…
LADYTRON Oops Oh My (2003)
LADYTRON surprised their audiences during live shows in support of the ‘Light & Magic’ album by closing with a feisty synthpunk cover of TWEET’s ‘Oops Oh My’. Co-written by Missy Elliot, the Timbaland produced original with a DEVO sample had been a hip-hop favourite but the aggressive Riot Grrrl styled take on this risqué song about self-love with lyrics like “There goes my skirt, droppin at my feet” added a rockier edge to their sound.
Available on the LADYTRON single ‘Evil’ via Telstar Records
“This was written in response to the Iraq War” said Sarah Blackwood aka Client B, “I remember endless discussions with Toast Hawaii boss Fletch about whether it was the right decision and with heavy hearts, watching endless shelling and firefighting, from the 24 hour news coverage on far flung European hotel TVs. It was the first time I had felt that disconnection and frustration with my home country, the ‘not in my name’ ringing loudly in my ears. Bit late to the party but that’s the story of my life.”
Available on the CLIENT single ‘Here & Now’ via Toast Hawaii / Mute Records
The eloquence and surreal atmospheres of the first GOLDFRAPP album ‘Felt Mountain’ may have taken a back seat on ‘Black Cherry’ but the experimentation continued on the B-sides of the album’s singles. ‘White Soft Rope’ combined the unsettling imagery of bondage with a chorus sung a school choir, but ‘Gone To Earth’ was otherworldly. The reverberating bassline combined with swirling synths and dreamy glides while Alison’s alternate cosmic language startled with a spacey hypnotism.
Available on the GOLDFRAPP single ‘Black Cherry’ via Mute Records
Nathan Cooper who was in THE MODERN said: “The inspiration came from ROXY MUSIC’s ‘In Every Dream Home A Heartache’ which was about a blow up doll, we took that a step further and Model# 426 is about some kind of sex droid!! ‘Model #426’ was always the song that would get the audience talking because singer Emma would open a trunk on stage and lead a gimp out on a collar into the bemused looking audience!! I think it was actually that stunt that got us signed to Universal!”.
Interpolating KC & THE SUNSHINE BAND’s ‘That’s The Way (I Like It), ‘Party Song’ was naturally a throbbing disco driven affair outshone the horrendous Diane Warren penned ballad ‘Numb’ which comprised the main act. Lyrically inspired by the classic Joan Collins and Leonard Rossiter fronted Campari adverts that, it began life as a dance cover of NIRVANA’s ‘Smells Like Teen Spirit’ suggested by Elton John and intended as a single for a new PET SHOP BOYS ‘Greatest Hits’!!
Originally the B-side of ‘Numb’, now available on the PET SHOP BOYS album ‘Format’ via EMI Music
‘Japanese Kiss’ was from the debut release on Happy Robots from Alice Hubley and Adam Cresswell. “This was the first track I wrote for ARTHUR & MARTHA” he recalled, “mostly recorded in the bedsit I’d moved into after splitting up with my girlfriend. I was absorbed in self-pity, comforting myself with Japanese-horror movies and the company of my ARP Quartet, Moog Rogue and the DR-55. Living my best life!”; 11 years later as Rodney Cromwell, Cresswell did a NEW ORDER inspired ‘KW1’ remix.
Available on the ARTHUR & MARTHA single ‘Autovia’ via Happy Robots
Basing its title on the well-known NEW ORDER tune, as with a number of the B-sides listed here, ‘Bizarre Love Duo’ outshone the main act ‘Ghost’. It all began with a pitch shifted groan sample repeated with hypnotic effect over some squelchy backing. The track built itself to a fabulous but abstract electrodisco number with a marvellously catchy refrain. While not quite a song and not quite an experiment, ‘Bizarre Love Duo’ was enjoyable tune in the MARSHEAUX canon.
Originally the B-side of ‘Ghost’, now available on the MARSHEAUX album ‘E-Bay Queen Is Dead’ via Undo Records
A cover of a cover, namely SHOCK’s take on THE GLITTER BAND’s 1974 Top5 hit; playing the role of the Latin lothario in response to the Annie song ‘Anthonio’, Sebastian Muravchik of HEARTBREAK and now SNS SENSATION remembered: “Richard X produced this version of ‘Angel Face’ as a side B in his single ‘Annie’. I sang both sides, which kind of shows two sides of Anthonio’s personality in a way. It was a fantastic experience – Richard is a great guy and über pro, so really a win-win.”
Available on the ANTHONIO single ‘Annie’ via Pleasure Masters
“Positive and negative can only attract” sang Victoria Hesketh on the bouncy ‘Catch 22’, a lesser known LITTLE BOOTS track which initially only appeared on the 7 inch single of ‘Earthquake’ in the UK. Gloriously synthpoppy, along with other songs that did not make it onto the final tracklisting of her debut album ‘Hands’, it highlighted a possible direction that could have been taken, but which was ultimately watered down for wider acceptance after she was named BBC Sound Of 2009.
Originally the B-side of the single ‘Earthquake’, now available on the LITTLE BOOTS deluxe album ‘Hands’ via On Repeat Records
Continuing a great tradition among the synthpop acts of the past, VILLA NAH had ‘Benny’s Burning’ and ‘Daylight’ as part of their B-side armoury as well as the brilliant debut album ‘Origin’. Highlighting the inherent talent of the duo, ‘Benny’s Burning’ was a smoother and more atmospheric side of VILLA NAH compared with the uptempo technopop impressions of its A-side ‘Rainmaker’. The Helsinki duo later opened for OMD during the UK leg of 2010’s ‘History Of Modern’ tour.
Available on the VILLA NAH single ‘Rainmaker’ via Keys Of Life
Produced by Vince Clarke, ‘Never Let You Down’ was free of the many autotune treatments that Frankmusik had applied when helming the disappointing ‘Tomorrow’s World’ album in his attempts to make ERASURE sound more modern and contemporary. As a result, that heartfelt soul often associated with Andy Bell made its presence felt over a glorious galloping synthpop tune in the classic ERASURE vein, especially during the middle eight section in Spanish.
Available on the ERASURE single ‘Be With You’ via Mute Artists
In their short career, MIRRORS left not only a great album in ‘Lights & Offerings’ but a body of wonderful B-sides too. Any are worthy of mention but the nod goes to ‘Fall By Another Name’ as it was accessible enough to have been an A-side. Not as dense as MIRRORS’ usual pop noir hence its likely relegation to flipside, the bright pulsing melodies and James New’s Dave Gahan impression made this sound rather like a quality outtake from DEPECHE MODE’s ‘Speak & Spell’.
Available on the MIRRORS single ‘Into the Heart’ via Skint Records
While the A-side was a faithful cover version of Peter Schilling’s anthemic ‘Major Tom’, ‘Dead Air Einz’ was a self-composed song by APOPTYGMA BERZERK mainman Stephan Groth that was eagerly welcomed at the time, thanks to it being his first original new track for four years. Utilising distorted radio broadcasts in its backdrop, it also featured some Korg MS20 from Jon Erik Martinsen and was something of a grower with its steadfast drum machine shuffle.
Available on the APOPTYGMA BERZERK single ‘Major Tom’ via Pitch Black Drive Productions
Making their initial impression with ‘Lies’ in 2012, Glasgow trio CHVRCHES became the mainstream saviours of synthpop that LITTLE BOOTS and LA ROUX had promised but ultimately failed to deliver on. ‘Now Is Not The Time’ was a fantastic midtempo tune with a great chorus that like ‘The Mother We Share’ sounded like Taylor Swift gone electro. It got relegated to B-side status despite being superior to several songs on their debut album ‘The Bones Of What You Believe’.
Available on the CHVRCHES single ‘Recover’ via Virgin Records
As with the ‘Sounds Of The Universe’ boxed set only track ‘Oh Well’, the best song from the ‘Delta Machine’ sessions was left out of the main act. ‘All That’s Mine’ featured a tightly sequenced backbone, electronically derived rhythms and a gloomy Eurocentric austere, all the perfect ingredients for a classic DM tune! Not fitting into the faux blues aspirations of modern DEPECHE MODE, it made up for the dreary notions of the A-side ‘Heaven’ which were more like hell…
Originally the B-side of the single ‘Heaven’, now available on the DEPECHE MODE deluxe album ‘Delta Machine’ via Columbia Records
OMD’s ‘English Electric’ album was notable for combining conceptual art pieces alongside supreme electronic pop in a manner reminiscent of ‘Dazzle Ships’ and KRAFTWERK’s ‘Radio-Activity’. Although four of these concepts made it onto the final running order of the album, one that didn’t was ‘Time Burns’, a intriguing sound collage comprising of clock movements, chimes and digital watch alarms over rumbles of sub-bass and profound computer generated speech.
Originally the B-side of the single ‘The Future Will Be Silent’, now available on the OMD EP ‘Night Café’ via BMG
A stomping electro disco number produced by Mark Reeder and Micha Adam, Elizabeth Morphew’s cooing Bush-like howls and breathy euphoria are a total delight to the ears while the mighty cavernous sound provided the heat! However, ‘United’ has ended up as the B-side. Reeder said ”I saw a piece posted on ELECTRICITYCLUB.CO.UK about QUEEN OF HEARTS and I was curious. I really liked Elizabeth’s voice from the moment I heard the first couple of tracks.”
Originally the B-side of ‘Secret’, now available on the QUEEN OF HEARTS deluxe album ‘Cocoon’ via Night Moves
With an alluringly haunting vocal from Anais Neon, the eerily stark ‘Little Death Capsule’ saw VILE ELECTRODES tell the story of early space travel when these primitive craft were sent out of the earth’s atmosphere effectively sitting on inter-continental ballistic missiles, with burning up also a possibility on return. With pulsing instrumentation from Martin Swan, it featured the sort of sterling analogue treatments that would make KRAFTWERK and YELLOW MAGIC ORCHESTRA proud.
Available on the VILE ELECTRODES EP ‘The Last Time’ via Vile Electrodes
A touching tribute to Messrs Clarke, Gore, Hütter and Schneider with hints of YAZOO’s ‘In My Room’, Johan Baeckström said of ‘Synth Is Not Dead’: “I guess I just wanted to reflect on the fact that there still IS a synthpop scene with some really great bands, both old and new. In another way, the song is sort of my ‘thank you’ to some of the artists that inspired me for several decades – some of them are mentioned in the lyrics, but far from all of course”.
Available on the JOHAN BAECKSTRÖM single ‘Come With Me via Progress Productions
METROLAND (We Need) Machines Without Romance (2015)
METROLAND’s second album ‘Triadic Ballet’ was a triumphant electronic celebration of the Bauhaus, art movement led by Walter Gropius; he’d theorized about uniting art and technology and on the B-side of its launch single ‘Zeppelin’, METROLAND worked on a 21st Century interpretation of that goal. Now imagine if Gary Numan had actually joined KRAFTWERK in 1979? The brilliant ‘(We Need) Machines Without Romance’ would have surely been the result.
Originally the B-side of ‘Zeppelin’, now available on the METROLAND boxed set ’12×12′ via Alfa Matrix
Of the superbly rousing ‘Paper Thin’, Richard Silverthorn of MESH recalled: “Mark Hockings presented me with a demo at the time we were writing material for ‘Looking Skyward’. On first listen, I wasn’t too sure about the track as I thought it didn’t really fit with the overall feeling of the album so it kind of got shelved. The record company asked ‘what about the B-side?’ so Mark suggested ‘Paper Thin’ again. The bassline, drums and many other lines were changed and the new version came to life.”
After SCARLET SOHO, James Knights busied himself with a new Britalo inspired solo project. With hints of NEW ORDER’s ‘Subculture’ and found on KNIGHT$ debut EP ‘What’s Your Poison?’, he said “’So Cold’ is the second or third song I wrote as KNIGHT$. It’s a little darker than my other material, and the only song I’ve recorded using a marxophone (a fretless zither). It didn’t make it onto my debut album, but it’s still a song the audience enjoy, as do I.”
PSYCHE co-founder Darrin Huss said of ‘Truth Or Consequence’: “It started out under the title ‘Life On Trial’ and was about the Bradley Manning (now Chelsea) situation. It’s about the NSA surveillance, whistleblowers, etc. It’s also about the confusion between what is Truth, and what are the consequences of telling it, living it? Do we have safety in numbers? etc. It’s all in the lyrics. It’s a very PSYCHE song with even a nod to ‘The Brain Collapses’ with our use of that song’s drum machine the Oberheim DMX.”
That Marc Almond and Dave Ball reunited for a farewell gig and new material was a pleasant surprise. The frustration and anger expressed in ‘Guilty (Cos I Say You Are)’ with the lines “I can denounce you just because I can, I didn’t have the life I wanted, I didn’t do the things I dreamed” saw SOFT CELL continue where they left of in 2003. With dark resonances like ‘The Omen’ gone disco, its eerie gothique countered the celebratory electro-soul of A-side ‘Northern Lights’
INTERNATIONAL TEACHERS OF POP Another Brick In The Wall – Remoaner mix (2019)
INTERNATIONAL TEACHERS OF POP impressed with their self-titled debut album. With the single release of ‘The Ballad Of Remedy Wilson’ was a timely Remoaner mix of PINK FLOYD’s ‘Another Brick In The Wall’ sung in German that made a bold musical and political statement. Headteacher Adrian Flanagan said: “I hope that statement is ‘I hate PINK FLOYD but love KRAFTWERK’ and / or – ‘I hate you but love the EU’”.
Alex Hush is the noted dance producer best known for his work in DAYBREAKERS with Ric Scott and before that, KOISHII & HUSH with Simon Langford.
Based in Toronto, undoubtedly now one of the liveliest and most creative hubs for modern electronic music, Alex Hush has an impressive portfolio that includes U2, MADONNA, ERASURE, PET SHOP BOYS, YAZOO, DURAN DURAN and INXS among others.
His latest work has been with DAYBREAKERS and an excellent remix of ERASURE’s new single ‘Hey Now (Think I Got A Feeling)’.
Alex Hush was also behind the famed seven volume ‘Retro:Active – Rare & Remixed’ CD compilation series on Hi-Bias Records in Canada which dug deep in the vaults for rare tracks by VITAMIN Z, LEISURE PROCESS and SEONA DANCING as well as featuring notable extended versions from the likes of A-HA, DEAD OR ALIVE, CAMOUFLAGE, OMD and THE CURE.
Alex Hush spoke about his career to date with DAYBREAKERS, KOISHII & HUSH and a whole lot more…
All the projects you have been involved with are largely associated with a dance friendly sound, what sort of clubs, DJs and environments influenced your approach to music?
Good question. I suppose I would say I was shaped by the music I grew up listening to in the 80s and to this day. In Toronto, there was a station called CFNY which played a ton of new wave and house tracks that were hugely influential. After that, people like Judge Jules, Pete Tong, Armin Van Buuren etc, all had a big influence with the tracks they played.
Who were the artists that you grew up loving?
ERASURE, NEW ORDER, DEPECHE MODE, PET SHOP BOYS, DEAD OR ALIVE, THE CULT, THE CURE, DURAN DURAN and many more. Even artists that only had one or two songs made an impact. I suppose for most people, if you liked one of the bands I mentioned, you more than likely listened to all of them.
So you love songs and you love remixes?
I do. I am no different than anyone when it comes to remixes. Sometimes a remix will turn a good track into a great track and other times I may not love the remix that was done. When it comes to remixes, fans can be very passionate and very opinionated and I am no different.
Who are your favourite remixers?
So many great ones but off the top of my head, the ones that I really like(d) are Shep Pettibone, Matt Darey, Tin Tin Out, Mark Saunders, Ferry Corsten. Any time their names appear you know you are getting something special.
Your first big name remix as DAYBREAKERS was ‘Love Is Bigger Than Anything In Its Way’ for U2, there were a lot of remixes commissioned for that, what was your approach to make it distinct?
For that mix, we wanted to try something with a bit of a deeper vibe to it while using the vocals in a unique way. We did two mixes and Bono really liked the ‘main’ mix and had an idea for an extra vocal. So he recorded it and sent it over and we incorporated it into the final mix which we were really pleased about. Nice to have his input and something unique.
How did you feel when MADONNA came calling for ‘I Rise’? Did you get to find out what she thought of your mix?
Just to work on U2 and MADONNA tracks was a thrill. We got the MADONNA mix right after the U2 one and it was a lot of fun to work on also. Because of the style of song, we took that in a different direction and was glad she and her team were happy with it.
No, we never got any direct feedback from her, but we were honoured that our mix was one of the ones chosen to be included on the RSD vinyl release.
DAYBREAKERS have produced a remix for ERASURE’s new single ‘Hey Now (I Think I Got A Feeling)’, do remixers get set a brief or is the point of being involved is that you are given artistic freedom?
I suppose that would depend on the project. We have never been given any sort of guidelines for a remix, but on occasion I have asked the label if they have any sort of direction for the mix. That can save a lot of time if you start out doing a mix in style a) and they really had style b) in mind. Other than that though, we have never had any sort of restrictions or template given to us.
The ERASURE mix was a lot of fun. We started out making a very progressive house sound and it was sounding good but neither Ric nor myself thought it was truly capturing the feel of the original. We completed that and set it aside, during which time Ric came up with a cool idea of a ‘pop’ mix, which ended up morphing into the final mix you hear now.
‘Marigold’ by the NEW ORDER offshoot SHADOWPARTY was another track remixed by DAYBREAKERS, would you like to be asked to work on an actual NEW ORDER song one day?
Yes! That is definitely on our bucket list! ‘Marigold’ was a great track to work on. Loved the original and having known Tom and Phil from NEW ORDER and BAD LIEUTENANT and getting to know Josh, doing a mix for them seemed like a no brainer. They are very passionate about what they do and great musicians.
Speaking of NEW ORDER, you worked with Gillian Gilbert on ‘Lifetime’ in KOISHII & HUSH, how did that come together?
I have been friends with NEW ORDER management for ages, and when we sat down to come up with our dream collaborators list, Gillian was on it. Her vocals on THE OTHER TWO project are so good, we had to get her singing something for us, so we pitched the idea and luckily, she agreed! The entire NEW ORDER camp are great.
KOISHII & HUSH were known for using some unusual vocalists as in artists who were not known for singing. Had that been a conscious concept or did it evolve naturally?
Hmmmm. I don’t think we ever set out to make a ‘non singers’ list – it just kind of happened. We did have a running list of people we wanted to work with just because we thought the combinations would be unique and quite cool, but it was not really a concerted effort. I would say that of all the people we approached, we got about 90% of them on board. We still have many unreleased K&H tracks that will see the light of day at some point.
One example was DURAN DURAN’s John Taylor and ‘C’est Tout Est Noir’, what inspired the collaboration?
Well both Simon and I were fans of DURAN DURAN and I knew John had done stuff on his own and always liked his style.
His track ‘I Do What I Do’ from the ‘9½ Weeks’ soundtrack really stood out in my mind and he considers ‘C’est Tout Est Noir’ a follow-up to that song, which is very cool.
‘C’est Tout Est Noir’ had a superb remix by Mark Reeder, when you write and produce a song, can you get “possessive” about things or does your experience allow you to remain objective?
Yes and no. Like I mentioned before, I can have the same reactions to remixes as anyone. What I do try and do though is remove myself from the equation and listen to it as someone not involved, which is not always easy to do. If you love a remix someone has done of your work, then great. If at first it is not really grabbing you, you need to think “ok, maybe this is not MY style but it might be for someone else”.
To be honest, I can only think of one occasion ages ago where a remix was submitted and we were not enamoured with it, but as it was not ‘our’ sound, who were we to judge? In Mark’s case, yes, it’s a great mix and we were thrilled to have him involved. I know John really liked his mix too and used it as the backing track on a vlog he made flying from London to LA.
The KOISHII & HUSH track ‘Rules & Lies’ was sung by Sarah Blackwood, what was she like to work with?
Total diva. LOL just kidding! She was great. Super sweet and did a great job on the writing and vocals. We met with Sarah at a coffee shop in London and hit it off right away. We were thrilled to have her involved because I had been such a huge fan of DUBSTAR. She is an underrated talent and would love to work with her again.
Is the album dying art? In the dance environment where there is less focus on the long player format?
It certainly seems that way, which I think is unfortunate. With so much of music being based on quick hits on social media, and with songs getting shorter to take advantage of streaming services, I think the whole experience that an album used to bring is gone. It obviously started with the ‘death’ of the CD and it has only gotten worse. Music seems to be the only instance where this seems to happen. You don’t watch bits of a movie or only read a few chapters of a book…
You’ve remixed DURAN DURAN, PET SHOP BOYS, YAZOO, INXS, WHEN IN ROME and B-MOVIE among others in your various guises, do you have any particular favourites from your career?
Oh sure. The remix of INXS’ ‘Need You Tonight’ was a big one and I think it still holds up to this day. ‘Storm In A Teacup’ for ERASURE and others, but it’s tough to pick out individual ones. They are all different and hopefully special to the listener in their own way.
Is there anyone else who you would really like to work with or remix?
I would really like to remix DEPECHE MODE or A-HA. I know we would love to work with a bunch of other people but I am not going to mention any names in case I jinx something ?
What’s next for DAYBREAKERS or anything else you are working on?
We have our first single signed to a label and that will be coming out soon. We are really excited about this one. We think it sounds great and hopefully others think so too!
ELECTRICITYCLUB.CO.UK gives its grateful thanks to Alex Hush
DAYBREAKERS’ remix of ERASURE’s ‘Hey Now (Think I Got A Feeling)’ is released by Mute Artists and available now via the usual digital outlets
Over the last 10 years, ELECTRICITYCLUB.CO.UK has been a voice for the discerning enthusiast of electronic pop.
With a balancing act of featuring the classic pioneers of the past alongside the emergent new talent for the future, the site has become well known for its interviews and reviews.
It asks the questions people have always wanted to ask while celebrating the continuing development of the synthesizer in popular music.
All this while holding to account those who deliver below expectations, assuring the listener that if they are perhaps not hearing the genius that some devoted fans are declaring, then ELECTRICITYCLUB.CO.UK is there to assist in affirming or denying that assessment.
But when artists do deliver, they tend to build a strong relationship with ELECTRICITYCLUB.CO.UK. So with the site celebrating its first 10 years, presented here are greetings and messages from some people who you might know…
Rusty Egan, VISAGE
ELECTRICITYCLUB.CO.UK is 10 years old with the synth knowledge of a 50 year old. If I can’t remember something electronic I don’t Google, I visit ELECTRICITYCLUB.CO.UK!
Glenn Gregory, HEAVEN 17
ELECTRICITYCLUB.CO.UK and its wonderful leader Chi is like the League Of Super Heroes for Electronic Music. Our future is safe in his hands.
I have been involved in electronic music making for 40 years, yet one half hour conversation with Chi makes me realise how little I know. From then to now, he’s knows!
Neil Arthur, BLANCMANGE
Chi has been brilliantly supportive of BLANCMANGE, for which I am very grateful. We’ve always managed to have a good laugh during our interviews, as he would ask me about the darkness and gloom lying within a given BLANCMANGE song! I look forward to our next chat.
ELECTRICITYCLUB.CO.UK has a very important place and a role to play, in spreading the news of electronic music, new and old, far and wide. Here’s to the next ten years. Well done and good luck.
Gary Daly, CHINA CRISIS
Thanks for all your wonderful support Chi, so glad someone has taken the time to ask some great questions…
Sarah Blackwood, DUBSTAR
I love the website. It’s a treasure trove of informative articles, both a very readable historical archive and a forward looking platform for encouraging new talent. In what can be traditionally and lazily categorised as a very male dominated scene, Chi encourages great music regardless of gender and I enjoy the updated Spotify playlist if I’m ever stuck for what to listen to whilst running.
As regards interviews, it’s always enjoyable – Chi is a bit too easy to talk to and his passion for music and synth geekery shines through – heaven forbid you try sneaking a (cleared) sample past him, he will spot it! Is it 10 years already? Happy birthday ELECTRICITYCLUB.CO.UK!
Chris Payne, DRAMATIS
With 18,000 likes and 12,000 Facebook followers; ELECTRICITYCLUB.CO.UK under the guidance of its purveyor Chi Ming Lai, has become the leading place for the Electronic Music fan. Intelligent, well written and well researched journalism with a great team of writers presenting an array of brilliant fascinating new acts (and some older ones as well!), hopefully it will continue for at least another 10 years.
Tracy Howe, RATIONAL YOUTH
Congratulations to ELECTRICITYCLUB.CO.UK on ten years of brilliant reporting of, and support to, the electronic pop scene. ELECTRICITYCLUB.CO.UK is the authoritative publication “of record” for fans and makers of synthpop alike and is the international rallying point and HQ for our music. We look forward to many more years of in-depth interviews and probing articles, all in the beautifully written style. Happy birthday ELECTRICITYCLUB.CO.UK!
Mark White, ABC + VICE VERSA
Chi Ming Lai and Paul Boddy are two of the most learned, nay, erudite music journalists I’ve had the pleasure of meeting, a rare experience indeed to be quizzed by a pair who know their onions. And unusual integrity. Chi promised me if we asked, he would turn off the tape recorder and it would never appear in print. And has been true to his word. This has literally never happened in my career. Also these two chaps are bloody good fun. I laughed til I cried. Go see the movie!
Rob Dean, JAPAN
10 years of ELECTRICITYCLUB.CO.UK? Only one for me (yes, I know…), but it’s heartening to know that Chi and the crew have created a site so cutting edge for us die-hard fans of electronica. Having read the highly entertaining VICE VERSA chaps interview, I was delighted to be asked to do my own, confident that the questions would be thoughtful and intelligent and yes, a little bit probing too. Here’s to the next 10 and thank you!
Richard Silverthorn, MESH
On several occasions I have done interviews for ELECTRICITYCLUB.CO.UK. Every time I felt like they actually cared about the music and scene and put some educated thought into the questions. It’s good to feel that enthusiasm.
Tom Shear, ASSEMBLAGE 23
Congratulations on 10 years of covering and supporting the scene! Here’s to another 10 and beyond…
Sophie Sarigiannidou, MARSHEAUX
I first met Chi at Sparrowhawk Hotel, Burnley in November 2000 for an OMD convention. It took me 13 hours to reach by train to Burnley from London due to bad weather. I saw him playing live (!!!!) with his covers band THE MESSERSCHMITT TWINS, they were having their time of their life, dancing and singing, so so happy! Us too of course!! From that moment on we became friends. Then he supported our band MARSHEAUX from the very early beginning and I thank him a lot for that!
It’s always great having Chi asking questions for interviews. We as a band had our best interviews with ELECTRICITYCLUB.CO.UK! We spent a lot of hours talking about the history of electronic music and the future of synthpop. My favourite articles are the “Beginners Guide To…” series, you have a lot to learn from these pages!!! Happy Anniversary Chi, we’ve indeed had 10 amazing years with ELECTRICITYCLUB.CO.UK. I hope and wish the next 10 to be even better.
Mark Reeder, MFS BERLIN
Congratulations and a very Happy 10th Birthday! Over the past 10 years, ELECTRICITYCLUB.CO.UK has developed into becoming the leading website for all kinds of electronic synthpop music. It has become a familiar friend, because it is something I can personally identify with, as it is maintained by fans, for fans.
However, it is not only commendable, but can also be quite critical too, and that is a rare balancing act in the contemporary media world. It has been a great source of regular electronic music information. I have discovered and re-discovered many wonderful electronic artists, and regularly devour the in-depth interviews and features.
Through ELECTRICITYCLUB.CO.UK, I have been introduced to and worked with some of the wonderful artists presented on your pages, such as QUEEN OF HEARTS or MARSHEAUX and in return, it has supported my work, my label and my artists too, and I thank them for that! We can all celebrate ten years of ELECTRICITYCLUB.CO.UK and together, look forward to the next 10 years of inspiring electronic music.
Per Aksel Lundgreen, SUB CULTURE RECORDS
ELECTRICITYCLUB.CO.UK is a highly knowledgeable and very passionate site! They are digging out rarities from the past as well as exploring and discovering new acts, giving them attention and writing about them often before anybody else around have even heard of them.
This makes ELECTRICITYCLUB.CO.UK a very interesting page to follow, as their in-depth stories about older bands “missing in action” as well as the latest stuff “in the scene” gets perfectly mixed together, giving you all you want basically in a one-stop-site for everything electronic. I also love the way they give attention to unsigned / self-released bands and small indie-labels, giving everybody a fair chance as long as the music is good enough. Congrats on the 10th Anniversary, well deserved!
Jane Caley aka Anais Neon, VILE ELECTRODES
When VILE ELECTRODES were just starting out, we heard through the Facebook grapevine about a new electronic music blog called ELECTRICITYCLUB.CO.UK. We had a London gig coming up, and had recently made a promo video for our song ‘Deep Red’, so we dropped them an email about both, not expecting to hear back, since we were virtually unknown.
However it transpired they really liked our sound, likening us to “Client B born and raised in the Home Counties fronting Dindisc-era ORCHESTRAL MANOEUVRES IN THE DARK”.
ELECTRICITYCLUB.CO.UK subsequently gave this very description to Andy McCluskey, which piqued his interest such that he checked out our music. We were invited to tour Germany with OMD as a direct result!
George Geranios, UNDO RECORDS
Chi is a really rare quality of a man. He is passionate about music which is so obvious of course while reading ELECTRICITYCLUB.CO.UK. Through our mutual love for OMD, we discovered that we have the same musical taste. ELECTRICITYCLUB.CO.UK helped us promote all of Undo Records projects and finally we ended collaborating and releasing this brilliant double CD compilation! Chi, I wish you health and to continue writing the best music texts in the industry!!
Adam Cresswell, HAPPY ROBOTS RECORDS
Some people say ELECTRICITYCLUB.CO.UK doesn’t support the scene but I’ve not found that to be the case; having been a part of two gigs and the recent CD, I know how much blood, sweat and tears they put into what they do.
ELECTRICITYCLUB.CO.UK might get a few people’s back-up, but they know their stuff when it comes to synth-driven music and I’m massively grateful that they have supported so many Happy Robots artists since 2010.
Stuart McLaren, OUTLAND
It’s no secret that the burgeoning new synthwave genre shares a common history with the great synthesizer acts and pioneers of the 80s, like Dolby, Jones, Luscombe, Wilder, Daly et al who created new soundscapes with what we now define as vintage synths. These sounds are brought back to life by pioneers in their own right like FM ATTACK, GUNSHIP, ESPEN KRAFT and BETAMAXX to name a few.
ELECTRICITYCLUB.CO.UK and Chi Ming Lai have always been at the forefront of championing, interviewing and reviewing the luminaries of this great instrument past to present, and are likely to remain the de facto voice of the synth scene well into the future… we agree on one thing and that is FM-84’s singer Ollie Wride is deffo one to watch as a star for the future!
Mr Normall, NUNTIUS
I’ve been following most of my favourite artists since they were brand new and often this means it’s a period of 30+ years, yet when reading articles and interviews by ELECTRICITYCLUB.CO.UK, I have learned every time something new about of my favourites.
Following ELECTRICITYCLUB.CO.UK have made me pay attention to several new acts that I would likely know nothing about if they hadn’t appeared on the page.
Catrine Christensen, SOFTWAVE
An outstanding magazine supporting new and upcoming artists whom they choose carefully as they have great taste of music regarding to their huge knowledge within the synthpop genre, when it comes to their writing and promotion – there’s no one like them. Happy birthday ?
Elena Charbila, KID MOXIE
Happy 10th birthday ELECTRICITYCLUB.CO.UK! Your love and commitment to the synth community is unparalleled and your support has meant a lot to me on a professional but also on a personal level. Here’s to the next 10 years! ?
Alexander Hofman aka Android, S.P.O.C.K
I’m a fan of ELECTRICITYCLUB.CO.UK for several reasons. You showed up when I perceived the majority of the electronic scene had turned more and more harsh; as much as I can appreciate an occasional emotional outburst, I’m a happy guy and thus I’m into pop – ELECTRICITYCLUB.CO.UK showed, and still shows me that there’s still electronic pop music being made. Good electronic pop! Which makes me glad, as I find the greater part of the generally popular darker scene to be of lower musical quality.
Moreover, ELECTRICITYCLUB.CO.UK writes in an amazingly happy tone – remember, I’m a happy guy, so it’s right up my alley. Add the fact that ELECTRICITYCLUB.CO.UK regularly publishes interesting articles, using intelligent and varied vocabulary, shows enormous knowledge and interest of the theme, the style, the scene – and I’m hooked. Thanks for being around – keep up the good work, it’s much needed! And congratulations – let’s grab a beer again! ?
We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it.Ok
is released as a digital single by Northern Writes and also available as a three track yellow vinyl 12 inch featuring extended and dub mixes direct from 
via Telstar Records
via Toast Hawaii / Mute Records
via Mute Records
, now available on the album 
via Pie & Mash Recordings Ltd
via EMI Music
remix.
via Happy Robots
via Undo Records
via Pleasure Masters 
via Keys Of Life
via Mute Artists
via Skint Records
via Pitch Black Drive Productions
via Virgin Records
, now available on the DEPECHE MODE deluxe album 
via Columbia Records
via BMG
, now available on the QUEEN OF HEARTS deluxe album 
via Vile Electrodes
via Progress Productions
, now available on the METROLAND boxed set 
via Alfa Matrix
via Dependent Records
via Speccio Uomo 
via Artoffact Records
, now available on the SOFT CELL album 
via Universal Records
via Desolate Spools
CD compilation series on Hi-Bias Records in Canada which dug deep in the vaults for rare tracks by VITAMIN Z, LEISURE PROCESS and SEONA DANCING as well as featuring notable extended versions from the likes of A-HA, DEAD OR ALIVE, CAMOUFLAGE, OMD and THE CURE.
is released by Mute Artists and available now via the usual digital outlets
Follow Us!