Despite Spring seemingly not arriving in the UK, plans for the Summer and lashings of ice cream are being made by some…
KNIGHT$ returns to London for a special birthday gig after a three show Mexican stand-off opening for Los Angeles darkwave duo DRAB MAJESTY; the glitterball Britalo vehicle of James Knights, his previous support sojourns have included A FLOCK OF SEAGULLS and HEAVEN 17. Featuring ‘What’s Your Poison?’, ‘Alligator’ and ‘Gelato’, his debut full-length album ‘Dollars & Cents’ was one of those fine immediate electronic pop records, ideal for these turbulent and uncertain times.
With a ‘Boom Bang Boom!’, James Knights will be performing songs from his SCARLET SOHO and BOYTRONIC portfolio as well as new KNIGHT$ material.
There will also be a DJ set by Berlin-based Dame Bonnet while opening the evening will be a live set from SNS SENSATION; the solo moniker of Argentine-born Sebastian Muravchik, he is perhaps best known as the charismatic front man of HEARTBREAK who shared stages with THE PRESETS, LA ROUX, LITTLE BOOTS and on their return, ITALOCONNECTION and BLANCMANGE. A support slot with FIAT LUX in 2022 fired up Muravchik to perform live more as SNS SENSATION.
In a joint interview James Knights and Sebastian Muravchik chatted to ELECTRICITYCLUB.CO.UK about their first meeting, Italo Disco, the state of the modern music industry and much more.
The last time the two of you shared a stage together was in different guises in 2018 at The Moth Club for Hypnotic Tango in London when ITALOCONNECTION came over, what are your memories of that event?
James: I bumped into Sebastian at the train station before the soundcheck and we had a really nice chat on the way to the venue. That was the first time we’d met in person! I performed my song ‘Alligator’ with ITALOCONNECTION, then I was able to enjoy the rest of the night as a spectator, it was great.
Sebastian: An unforgettable night, it was fantastic. There was a unique energy in the room – the HEARTBREAK set was as if there had been no break at all! James and I met in person for the first time that day and had really good chats. Everyone was very impressed by James’ surprise performance with Fred and Paolo. I enjoy what James does on stage very much indeed and look forward to seeing a whole set at The Black Heart.
How did you become aware of each other?
James: Sebastian’s previous project HEARTBREAK was inspiring. To see people on stage pushing it to the max and challenging the audience is great. I always had the impression they didn’t give a damn what was in vogue at the time, and they would perform alongside almost any other artist, in any genre. Totally fearless and unapologetic, the way it should be!
Sebastian: It was via messages on social media. I think James was aware of some of the work I had done before I took a break from music, and we got talking. I was impressed with how involved he was with the Italo Disco world and how much influence he had taken from it in his own productions. He’s also a very nice fellow indeed, proof that you can be a great performer with no need for big egos.
So you both share this love of Italo Disco which is often unfairly maligned in the UK. Do you think there has been a renaissance as a result of documentaries like ‘Italo Disco Legacy’, ‘Dons Of Disco’ and ARTE TV’s Italo special?
Sebastian: I think the Italo scene is small but quite established now, certainly a lot more than it was when Ali Renault and I started HEARTBREAK, there was next to nothing in the UK back then. At the same time, some of us were moving in somewhat different directions, like DJ Casionova embracing Kosmische and ambient and other things, Ali’s emphasis on industrial electro, Road to Rimini generally doing less, me looking into somewhat darker territories etc.
Italo changed our lives and will always be loved by us, and still be an influence, but this artistic journey is unpredictable and you gotta go where you gotta go. And at any rate, we’ll always have Flemming Dalum 🙂
Personally, the pandemic had a huge impact on my music, and enhanced the darkness brought by Brexit and the rise of the far right, as well as my own existentialist preoccupation with death and oblivion, and the philosophical concern with living authentically through measures of poetry and abstraction.
James: I think the phenomenon is mostly down to the music itself being so good and a little bit innocent. It seems like it’s being appreciated and shared between people more and more, and for once the algorithm is working well, and serving people more hidden gems they haven’t heard yet.
What Italo Disco tracks (not necessarily your favourites) would you recommend as entry points for those who are interested because they like your music but not wholly familiar with the genre?
James: Den Harrow’s ‘Mad Desire’ in its 1984 12” version with vocals from Silver Pozzoli and not the album version (which was re-recorded by Tim Hooker), ‘Marinero’ by Lucia and also from 1985, ‘Late Night Satellite’ by BOYTRONIC…
Sebastian: Amnésie ‘Turas’, Blackway ‘New Life’, Helen ‘Witch’ and ‘Le Camion’ by DEUX (if I can get away with calling this Italo…)
What are your favourite tracks by the other?
James: I have a soft spot for SNS SENSATION’s ‘Discoboom’ because Sebastian was kind enough to submit the track for our Specchio Uomo ‘Trans-Global Excess’ compilation album. It’s massive and I love how raw it is! Then ‘Robot’s Got the Feeling’ from HEARTBREAK, because it’s amazingly dynamic with these amazing stop start rhythms.
Sebastian: ‘Miami Knights’, I love the bassline and vibe. ‘Alligator’, both the original and ITALOCONNECTION’s remix. There’s cool aggressive undertones to the singing and the energy of the productions. It’s the tune James sang with Fred and Paolo at the Moth Club, so it also left an impression that way.
What can audiences expect from your upcoming sets at The Black Heart?
Sebastian: I think having the talent that is Dame Bonnet DJ-ing on the night is a massive plus; he did a stunning remix of my ‘Your Door’ and James’ ‘Julia’, and his own stuff is excellent – as well as his bass work for CURSES. I look forward to playing some new tunes like ‘Diamond Dream’ and others, and I look forward to seeing James’s set and meeting music lovers in the audience. The fans of these kinds of music tend to be very positive people, so it should be a really fun night.
James: I’m sure there will be something, but not sure what! I was playing around with an Elton John track the other day…
Any new material or album / EP releases on the horizon?
James: Yes! I’m just wrapping up a new EP as we speak. The vinyl should be ready later this year, and I’ll be playing the lead track at the show on June 2nd!
Sebastian: I will continue to release singles for now, but I am beginning to consider an EP soon. A cassette release of some sort is definitely on the horizon.
How are you finding adapting to the ever changing music environment and the emphasis on metrics? What are your upcoming plans?
Sebastian: I love the opportunities that independent DIY artists have to release and promote their work, it’s so exciting! And there’s so much stuff released all the time that it inspires you to produce and release only your very best.
I’ve also found more of a sense of camaraderie and community via social media than ever before. At the same time, there seems to be less attention span for music that transcends or does not fall strictly within genre boundaries. ZANIAS recently tweeted about how she felt this affects her career progression. This playlist culture is discouraging for artists that remain committed to the process with no compromise; I guess the key is to keep doing what you do and not giving too much of a f*ck.
James: I’m always trying to get my head down and write as many songs as I can, whilst playing as many shows as I can. Everything else is noise in the end. I can only measure success on how I’m feeling, so if the writing and performing is going well, I’m happy.
Sebastian: My plan is to continue to release music I can be proud of, and keep developing as an artist – never stop learning and trying new things out.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to James Knights and Sebastian Muravchik
“Love not war, art not invasion, inspiration not fear” is the message of ‘Same River Twice’, the sixth single by SNS SENSATION, the ice cool minimal Italo-influenced project of Sebastian Muravchik who is best known as the charismatic front man of HEARTBREAK who have shared stages with THE PRESETS, LA ROUX, LITTLE BOOTS, ITALOCONNECTION and BLANCMANGE.
While rooted in synthpop and swathed in a monochromatic sepia, ‘Same River Twice’ takes a more baroque direction compared with previous SNS SENSATION releases, outlining how a relationship can embody the metaphysical questions of change and permanence.
Sebastian Muravchik chatted to ELECTRICITYCLUB.BO.UK about the more cerebral philosophical approach to the genesis of ‘Same River Twice’, both aurally and visually…
‘Same River Twice’ is a very on point phrase right now, but what had been your original intent with the song?
I can’t speak of intent, but I can say the process involved looking deeper into Parmenides (which is quoted in the lyrics), and looking a bit further into transcending the binary opposition between being and becoming (between Parmenides and Heraclitus, as it seems to be widely understood). I’m trying to work out the idea that everything is always changing and you cannot step into the same river twice (Heraclitus) and that at the same time there is no “twice” because time is an illusion and it’s all “being” (Parmenides).
The point that has been made before and I am building on is that we can look at the beauty of an idea and decide to take it on the basis of its beauty alone. So two beautiful ideas such as these two can be both true even if supposedly opposed. Beauty overrides exclusivist binarisms.
Of course looking into what beauty means is important here, and I suppose the best way to explain it is in relation to flow and freedom, which is not the same as excitement (neo fascists get excited about their ideas but these are not beautiful ideas; the excitement is the energy of trauma repressed in the subconscious and coming out as fresh repressive violence to try and control the repressive mandates that have oppressed the fascist himself as he was traumatised and then developed his sociopathy). Liberation is key here. That is, not the identification with the oppressor that imprisons so many people, but the awareness of our oppressor inside. When those repressive mandates are silenced, I believe the beauty available to you glows like nothing else in this life; but it is a long journey that many people choose not to undertake unfortunately. SNS SENSATION is all about that journey: music and art are as effective conduits to liberation and the ideal state of permanent flow as you’re going to get.
But as I was writing the song, a story of disappointment and alienation also filtered through. Time was already a key theme but now it was about time and distance, and how time destroys hope and connection between people (perhaps as much as it helps develop it, or that might be how it feels now, with the end of humanity looming on different fronts).
And yet in this story of increasing alienation and oblivion, I found a sense of infinity which I hear a lot in disco music but not as much in synthpop. That’s why the song fades out, because at that point in the song I believed it deserved to reach out to the infinite; this song did not need to end, it needed to merge into the silence of infinity (which incidentally befits both being and becoming).
I think this is one of my favourite songs of mine, it feels as if I’ve really found my fog. Infinite flow glows in this fog as it takes me with it wherever the wind may blow.
Was the video inspired by any particular artists or film directors?
I think late Beckett is usually important (‘Not I’ in particular, but also ‘Rockaby’). But also, interestingly, talented DJ and drone artist Xen Von Katz mentioned the music video for ERASURE’s ‘Blue Savannah’ – as a fellow ERASURE fan I was so pleased to discover that subconscious influence in this project.
The split face has a scary Impressionism, what the thinking behind this imagery?
I guess I have now reached the point where I get to see these images for what they are in themselves, their potential for meaning a mere aspect of their constitution – that is, seeing them as potential rather than as embodying a definitive intent. So in effect I know as much about the thinking of it as anyone else, and so the intent is multiplied.
Now that you ask, though, my interpretation of this might be that there has to be an element of that being-becoming dichotomy. But also, there’s an element of breaking, of breakdown, of crisis but also of liberation and multiplication somehow.
Like if you’re sad then you need to think about how you think about your sadness. Sadness in itself can be very beautiful, but it must be dealt with appropriately to avoid anxiety and panic. I wish this culture of ours focused less on money and power and fetiche, and more on the complexities of flow. In flow we can experience life as creation, and we are unburdened from notions of ownership. Like Moria Casán said “si queres llorar, llorá”.
We have been aided, multiplied, write Deleuze and Guattari on transcending the binary. I guess I hope this music video works as the cracked mirror inside of us, burning, splintering and synthesised in the same way the infinite and oblivion join forces in the ether of music, the only version of the absolute idea that seems to work for me.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Sebastian Muravchik
The third installation in the SNS SENSATION lockdown series, ‘Mirror Radio’ is a fuzzier, more aggressive synthpop number than its two predecessors, for whom the detuned bells toll.
Although not part of the trilogy, there was a hint of this upcoming change in mood on ‘Discoboom’, a throbbing dance metal hybrid from the ‘Trans-Global Excess Volume 1’ compilation recently issued by Specchio Uomo.
While ‘Small World’ captured panic and ‘Your Door’ was swathed in sadness, ‘Mirror Radio’ channels anger with a harder industrial edge at the powers that be and their response to the pandemic.
Argentine-born Sebastian Muravchik is the man behind SNS SENSATION; he is best known as the front man of HEARTBREAK who shared stages with THE PRESETS, LA ROUX and LITTLE BOOTS. Some of HEARTBREAK’s horror electro-rock elements as heard on ‘Destroy All Power’ from their appropriately titled ‘Deceit’ EP have found their way into ‘Mirror Radio’.
Reflecting the new single’s fractured if surreal tone, the accompanying video, set in the world of the mind and reflecting it on a TV screen, takes inspiration from Samuel Beckett’s ‘Not I’ and ‘Quad’, Lucio Fulci’s ‘The House By The Cemetery’, and Ingmar Bergman’s ‘Winter Light’.
Sebastian Muravchik said: “The challenge with this song was to convey that industrial anger with 808 sounds as the starting point. Despite the electro funk element in rhythm terms on this song, I wanted the 808 to howl”.
As with many intuitive artists, laying down restrictions aided the production process. “What I seem to be doing is limiting my sound sources as a starting point and keeping an eye on where flow finds a deterritorializing avenue of some sort” he added, “There’s a time stamp, desaturated and blurred by the damage the years have done since the initial firm grip on the statement. This is where I see the ideological grounding of my sound production is rooted”.
Having captured the claustrophobic solitude of lockdown with ‘Small World’, Muravchik’s voice evokes a frustration that will no doubt gain further enhancement with a remix by the mysterious industrial electro personality of MANASYt whose career of nearly 20 years has produced music that described as “what exactly hostile aliens would listen to while attacking Earth”!
“It’s such a strange day, in such a lonely way” sang NEW ORDER on ‘Truth’ in 1981.
The coronavirus crisis of 2020 put the entire live music industry into limbo as concerts were postponed and tours rescheduled.
The situation was affecting everyone with several musicians like Bernard Sumner, Andy McCluskey, John Taylor and Sarah Nixey publicly stating that they had contracted the virus. Even when all pupils returned to schools in the Autumn, there was a ban on indoor singing in English classrooms. It was an indication that out of all professional fields, the arts was going suffer the most.
To make up for the absence of live shows, online streamed events become popular. Two of the best live online gigs were by Swedish veterans LUSTANS LAKEJER from the KB in Malmö and Sinomatic techno-rockers STOLEN with Lockdown Live From Chengdu. Not strictly a lockdown show but available for all to view on SVT was a magnificent live presentation of KITE at the Royal Opera House in Stockholm recorded in late 2019 combining synthesizers, orchestra and choir, proving again why Nicklas Stenemo and Christian Berg are the best electronic duo in Europe.
Concluding his ‘Songs: From the Lemon Tree’ series, Bon Harris of NITZER EBB presented a wonderful set of four electonic cover versions including songs made famous by Joan Armatrading, Connie Francis and Diana Ross. Meanwhile among independent musicians, Dubliner CIRCUIT3 led the way with an innovative multi-camera effected approach to his home studio presentation and Karin My performed al fresco in a forest near Gothenburg.
Taking the initiative, ERASURE did a delightful virtual album launch party for their new album ‘The Neon’ on Facebook with Vince Clarke in New York and Andy Bell in London, talking about everything from shopping to classic synthpop tunes.
Other streamed forms of entertainment came via podcasts and among the best was ‘The Album Years’ presented by Steven Wilson and Tim Bowness. Their knowledgeable and forthright views on selected years in music were both informative and amusing. It was interesting to note that at the end of the 1976 episode, the pair nominated ‘Oxygène’ by Jean-Michel Jarre as the most important album of that year while for 1979, it was ‘The Pleasure Principle’ by Gary Numan.
Many artists who had scheduled releases in 2020 went through with them, although in some cases, there were the inevitable delays to physical product. But a few notable acts couldn’t help but abuse the situation, notably a certain combo from Basildon.
There were already “quality control issues” with the lavish ‘MODE’ 18 CD boxed set, but there was uproar even among the most hardcore Devotees with the ‘Spirits In The Forest’ release. The cardboard packaging was reported to be flimsy and prone to dents, while there was continuity errors galore as Dave Gahan rather cluelessly and selfishly wore different coloured outfits over the two nights in Berlin that the live footage was filmed under the direction of Anton Corbijn.
As if that wasn’t bad enough, there was an Anton Corbijn official illustrated history of DEPECHE MODE entitled ‘DM AC’ in the form of a coffee table photo book published by Taschen which retailed at €750; even though it was signed by Messrs Gahan, Gore and Fletcher, the price tag was a mightily steep. The increasingly ironic words of “The grabbing hands grab all they can…” from ‘Everything Counts’ were not lost on people, who are people, after all!
But Andy Fletcher did provide the most amusing and spot-on quote of the year; during DEPECHE MODE’s acceptance speech into that dinosaur institution The Rock & Roll Hall Of Fame, when Dave Gahan remarked to his bandmates that “I dunno what the hell I would have been doing if I didn’t find music to be quite honest…”, the banana eating handclapper dryly retorted “YOU’D HAVE BEEN STILL STEALING CARS DAVE!”
There were lots of great albums released in 2020 and Berlin appeared to be at the creative centre of them.
There was ‘LP II’ from LINEA ASPERA who made a welcome return after eight years in hiatus and the playful debut by ULTRAFLEX, a collaborative offering from Berlin-based Nordic artists SPECIAL-K and FARAO which was “an ode to exercise, loaded with sex metaphors badly disguised as sports descriptions” .
The DDR born Jennifer Touch told her story with ‘Behind The Wall’ and resident New Yorker DISCOVERY ZONE was on ‘Remote Control’, while Lithuania’s top pop singer Alanas Chosnau made ‘Children of Nature’, his first album in English with Mark Reeder, who himself has lived in the former walled city since 1978; their collected experiences from both sides of the Iron Curtain made for a great record with the political statement of ‘Heavy Rainfall’ being one of the best songs of 2020.
Synth-builder and artist Finlay Shakespeare presented the superb angst ridden long player ‘Solemnities’ with its opener ‘Occupation’ tackling the social injustice of unemployment. A most frightening future was captured in musical form by New York-resident Zachery Allan Starkey who saw his home become a ‘Fear City’, while WRANGLER got themselves into ‘A Situation’.
SPARKS discussed ‘The Existential Threat’ and ‘One For The Ages’ while pleading ‘Please Don’t F*ck Up My World’ on their eclectic 25th album ‘A Steady Drip, Drip, Drip’, just as NIGHT CLUB reflected what many were thinking on ‘Die Die Lullaby’ with ‘Miss Negativity’ looking to ‘Die In The Disco’ while riding the ‘Misery Go Round’.
ASSEMBLAGE 23 chose to ‘Mourn’ with one of its highlights ‘Confession’ illustrating what DEPECHE MODE could still be capable of, if they could still be bothered.
But it was not all doom and gloom musically in 2020. With the title ‘Pop Gossip’, INTERNATIONAL TEACHERS OF POP did not need to do much explaining about the ethos of their second album and drum ‘n’ synth girl GEORGIA was happily ‘Seeking Thrills’.
Veterans returned and 34 years after their debut ‘Windows’, WHITE DOOR teamed up with the comparative youngster Johan Baeckström for ‘The Great Awakening’, while CODE made a surprise return with their second album ‘Ghost Ship’ after an absence 25 years.
‘The Secret Lives’ of German duo Zeus B Held and Mani Neumeier illustrated that septuagenarians just want to have fun. Along with Gina Kikoine, Zeus B Held was also awarded with Der Holger Czukay Preis für Popmusik der Stadt Köln in recognition of their pioneering work as GINA X PERFORMANCE whose ‘No GDM’ was a staple at The Blitz Club in Rusty Egan’s DJ sets.
Incidentally, Rusty Egan announced that Zaine Griff would be joining him with Numan cohorts Chris Payne and David Brooks in a live presentation of VISAGE material, although the announced dates were postponed, pending rescheduling for 2021.
Swiss trailblazers YELLO were on ‘Point’ and continuing their occasional creative collaboration with Chinese songstress Fifi Rong, while one time YELLOW MAGIC ORCHESTRA collaborator Hideki Matsutake returned as LOGIC SYSTEM and released a new long player ‘Technasma’, his project’s first for 18 years.
It was four decades since John Foxx’s ‘Metamatic’ and Gary Numan’s ‘Telekon’, with the man born Gary Webb publishing ‘(R)evolution’, a new autobiography to supersede 1997’s ‘Praying To The Aliens’. Meanwhile, the former Dennis Leigh teamed up with former ULTRAVOX guitarist Robin Simon plus his regular Maths collaborators Benge and Hannah Peel for the blistering art rock statement of ‘Howl’ as well as finally issuing his book of short stories ‘The Quiet Man’.
2020 saw a lot of 40th anniversaries for a number of key albums including ‘Vienna’ by ULTRAVOX, ‘Travelogue’ by THE HUMAN LEAGUE and ‘Closer’ by JOY DIVISION.
Back in 1980, it was not unusual for bands to release two albums in a calendar year as OMD did with their self-titled debut and ‘Organisation’, or JAPAN did with ‘Quiet Life’ and ‘Gentlemen Take Polaroids’.
It appeared to be a tradition that BLANCMANGE were adopting as Neil Arthur delivered the acclaimed ‘Mindset’ and an enjoyable outtakes collection ‘Waiting Room (Volume 1)’.
PET SHOP BOYS and CERRONE proved they still liked to dance to disco because they don’t like rock, but the year’s biggest surprise came with THE SMASHING PUMPKINS whose single ‘Cyr’ crossed the templates of classic DEPECHE MODE with DURAN DURAN.
Interestingly, Gary Daly of CHINA CRISIS and Michael Rother of NEU! used sketches recorded many moons ago to inspire their 2020 solo creations, proving that if something is a good idea, it will still make sense years later. Veteran Tonmeister Gareth Jones released his debut solo album ‘ELECTROGENETIC’ having first come to prominence as the studio engineer on ‘Metamatic’ back in 1980, but Jah Wobble was as prolific as ever, issuing his ninth album in four years, as well as a run of download singles over lockdown.
ANI GLASS had her debut long player ‘Mirores’ shortlisted for Welsh Music Prize and OMD remixed her song ‘Ynys Araul’ along the way, while SARAH P. was ‘Plotting Revolutions’. NINA and a returning ANNIE vied to be the Queen Of Synthwave with their respective albums ‘Synthian’ and ‘Dark Hearts’, although Canadian synth songstress DANA JEAN PHOENIX presented her most complete and consistent body of work yet in ‘Megawave’, a joint album with POWERNERD.
RADIO WOLF & PARALLELS contributed to the soundtrack of the film ‘Proximity’ released on Lakeshore Records and from the same label, KID MOXIE made her first contribution to the movie world with the score to ‘Not To Be Unpleasant, But We Need To Have A Serious Talk’ that also featured a stark cover of ALPHAVILLE’s ‘Big In Japan’. Meanwhile gothwavers VANDAL MOON made their most electronic album yet in ‘Black Kiss’ and POLYCHROME got in on the kissing act too with their new single ‘Starts With A Kiss’.
It would be fair to say in recent times that the most interesting and best realised electronic pop has come from outside of the UK; the likes of TWICE A MAN explored the darker side of life, although TRAIN TO SPAIN used the dancefloor as their mode of expression, 808 DOT POP developed on the robopop of parent band METROLAND and ZIMBRU preferred disco art pop.
In Scandinavia, there was the welcome return of UNIFY SEPARATE (formally US) and HILTIPOP aka Magnus Johansson of ALISON who finally released some music in his own right; once he started, he didn’t stop with 9 releases and counting in 2020! APOPTYGMA BERZERK released ‘Nein Danke!’, their self-proclaimed return to “New Wave Synthpop” and out of that set-up sprang the very promising PISTON DAMP.
Within the PAGE camp, Eddie Bengtsson continued his Numan fixation on the ‘Under Mitt Skinn’ EP although his musical partner Marina Schiptjenko teamed up with LUSTANS LAKEJER bassist Julian Brandt to ride the Synth Riviera for a delightful second helping of their electro crooner concept cheekily titled ‘For Beautiful People Only’.
Over in Germany, U96 teamed up Wolfgang Flür while RENARD, the solo vehicle of Markus Reinhardt from WOLFSHEIM teamed with Marian Gold of ALPHAVILLE and Sarah Blackwood of DUBSTAR. DUBSTAR themselves released a striking corona crisis statement entitled ‘Hygiene Strip’ which saw reconfigured duo reunited with producer Stephen Hague. Meanwhile another poignant song on the topic ‘Small World’ came from SNS SENSATION, the new project by Sebastian Muravchik of HEARTBREAK. In lockdown, TINY MAGNETIC PETS recorded an entire album which they called ‘Blue Wave’.
Of course, 2020 was not full of joy, even without the pandemic, as the music world sadly lost Florian Schneider, Gabi Delgado-Lopez, Chris Huggett, Andrew Weatherall, Matthew Seligman, Dave Greenfield, Rupert Hine, Tom Wolgers, Harold Budd and Ennio Morricone.
An introspective tone was reflected the music of female fronted acts such as and ZANIAS, PURITY RING, WE ARE REPLICA, KALEIDA, LASTLINGS, NEW SPELL, WITCH OF THE VALE, REIN, BLACK NAIL CABARET, GLÜME, GEISTE THE FRIXION, FEMMEPOP and SCINTII. However, countering this, the optimism of RIDER, ROXI DRIVE and NEW RO presented a much brighter, hopeful take on life and the future.
ELECTRICITYCLUB.CO.UK celebrated 10 years as a platform and affirming the site’s intuition about synth talent in anticipation of them achieving greater things, SOFTWAVE opened for OMD on the Scandinavia leg of their ‘Souvenir’ tour. The Danish duo became the sixth act which the site had written about to have become part of a tradition that has included VILLA NAH, MIRRORS, VILE ELECTRODES, METROLAND and TINY MAGNETIC PETS.
On a more cheerful note, S.P.O.C.K beamed down to Slimelight in London before lockdown for their first British live performance in 17 years. Meanwhile on the same night, LAU NAU and VILE ELECTRODES did modular sets at Cecil Sharp House, the spiritual home of English traditional music.
At that event, ELECTRICITYCLUB.CO.UK took delight in curating a DJ set comprising of John Cage’s 4’33” in variations by DEPECHE MODE, GOLDFRAPP, ERASURE, NEW ORDER and THE NORMAL from Mute’s Stumm433 boxed set. This defiant act of silence even caused a curious Jonathan Barnbrook to raise an eyebrow, this from the man who designed the artwork with the white square on David Bowie’s ‘The Next Day’ 😉
The final live event that ELECTRICITYCLUB.CO.UK attended before the March lockdown was an informative lecture at Queen Mary University in London presented by noted cultural scholar Dr Uwe Schütte, in support of his book ‘KRAFTWERK Future Music From Germany’.
Also attending was Rusty Egan who held court at the reception afterwards by having a debate with another musician about the state of UK synth music. He then loudly beckoned ELECTRICITYCLUB.CO.UK over and mentioned how the site was only interested acts that scored “9 out of 10” before admitting that a number of acts he supported only scored “6 out of 10”, with his reasoning being that if acts aren’t supported, then there will be no synth acts existing at all. After a decade in existence, ELECTRICITYCLUB.CO.UK remains proud that it is still extremely selective.
In 2020, the notion of reviews being needed to achieve a promotional profile underwent an existential crisis among media platforms. With streaming now being the main method of music consumption, why would anyone want to read a blog for an opinion about an album when they can just hit ‘play’ and hear the thing for themselves on Spotify, Amazon, Tidal or Bandcamp?
The sound of classic synthpop does live on happily in today’s mainstream via singles by THE WEEKND, DUA LIPA and even STEPS! In that respect, the trailblazing kings and queens of Synth Britannia from four decades ago did their job rather well.
From SUGABABES mashing-up ‘Are Friends Electric?’ for ‘Freak Like Me’ in 2002 to ‘Blinding Lights’ borrowing a bit of A-HA in 2020, the sound of synth is still strong.
It is up to any potential successors to live up to that high standard of Synth Britannia, which was as much down to the quality of the songwriting, as much as it was to do with the sound of the synthesizer. It is a fact that many overlook and if aspiring musicians could pay more attention to the song, instead of making the synthesizer the excuse for the song, then classic electronic pop music may still be around for a little longer and continue to evolve.
ELECTRICITYCLUB.CO.UK Contributor Listings of 2020
Despite the worldwide pandemic crisis, the music industry did its best and soldiered on.
Many artists who had scheduled releases in 2020 went through with them, but other artists used the lockdown situation as creative tension and were particularly productive while stuck at home, to compensate for being unable to perform live shows.
Electronic music has always had an emotional link in particular with isolation and solitary working, so the advances in computerised recording technology meant that a number of musicians could function as before.
Worthy mentions for 2020 include AaRON, ASSEMBLAGE 23, DESIRE, DISCOVERY ZONE, FIAT LUX, JOHN FOXX & THE MATHS, GEISTE, NEW ORDER, NEW SPELL, PAGE, WITCH OF THE VALE, ZIMBRU and 808 DOT POP, while one of the most popular synthpop songs of the year was ‘Blinding Lights’ by THE WEEKND which actually slipped out almost under the radar at the back end of 2019.
A special acknowledgement also goes to ‘Future Shock’ by Marc Collin featuring Clara Luciani which came from his independently produced film ‘Le Choc Du Futur’, but only became more widely known when the fictional story of an aspiring female synth musician set in 1978 was released internationally on DVD this year.
But at the end of the day, only 30 songs could be selected as a snapshot of the calendar year. So here are ELECTRICITYCLUB.CO.UK’s songs of 2020, presented as usual alphabetically by act with a restriction of one song per artist moniker.
TOBIAS BERNSTRUP Private Eye
Tobias Bernstrup is an electronic musician and performance artist from Gothenburg who combines sci-fi, performance art and gothic noir for a striking persona that has been exhibited at art galleries in Sweden. The club-friendly Italo flavoured ‘Private Eye’ looked at the surveillance society with hints of TRANS-X who Bernstrup collaborated with on a new version of his song ‘Videodrome’ in 2018. A follow-up to his last long player ‘Technophobic’ is in the works.
Available on the digital single ‘Private Eye’ via Tonight Records
The ninth full length BLANCMANGE long player of new material since 2011’s ‘Blanc Burn’, Neil Arthur’s dark ‘Mindset’ is only reflecting these strange times. Thus strange pop music is just the tonic and the highlight of this collection was the marvellous KRAFTWERK meets FAITHLESS concoction of the mutant electronic disco of ‘Diagram’. In his sharp Northern lilt, our hero repeating himself like a preacher on how “I want transparency” only adds to the sinister dance.
Available on the album ‘Mindset’ is released by Blanc Check
From ‘Children of Nature’, the excellent first album by Mark Reeder and Alanas Chosnau, ‘Heavy Rainfall’ was a song seemingly having an environmental reference but actually reflecting on the world’s increasingly disturbing political climate. Like a grooving NEW ORDER disco number with Reeder’s rhythm guitar syncopating off an exquisite range of electronic patterns while some spacey magic flies within the exquisite soundscape.
‘Luna Landings’, the second solo offering from Gary Daly was the next best thing to a CHINA CRISIS instrumental album but then it sort of was, comprising of demos that Daly originally recorded between 1981 to 1987. A highly enjoyable record that channelled a laid back demeanour to aid relaxation and escape, the air and hiss from the incumbent machinery added an endearingly earthy quality to proceedings. One of the highlights ‘80s Electro 2’ did exactly as the title suggested.
Hygiene strips are now common reminders of social distancing, so a gesture of solidarity with fellow humans, DUBSTAR presented this poignant song at the height of the UK lockdown. Working with Stephen Hague who co-produced their hits ‘Not So Manic Now’ and ‘Stars’, the writing and recording was completed remotely. There was a forlorn presence in Sarah Blackwood’s vocal but also the subtle lifting air of PET SHOP BOYS to offer some hope in the haze of melancholy.
Available on the digital single ‘Hygiene Strip’ via Northern Writes
With her debut album ‘Mirores’, Ani Glass was shortlisted for Welsh Music Prize. An observational electronic travelogue about her hometown of Cardiff, one of the highlights was the Euro-disco of ‘Ynys Araul’. Rich in traditional melody with a lovely high vocal register while offering a pop sensibility and a wonderful triplet bassline, it was given a subtle remix by her one-time mentor Andy McCluskey who she had worked with as a Mk2 member of GENIE QUEEN.
The mysterious but glamourous GLÜME offered this lovely eerie ‘Twin Peaks’ styled cover of ‘Come Softly To Me’. More chilling and metronomic than the almost acapella 1958 song by THE FLEETWOODS, the original vocal hook was transferred to synth. Her version captured the innocence of forgotten yesterdays in the pursuit of today with its hypnotic arrangement and her lush but tragic Marilyn Monroe meets Julee Cruise delivery.
Available on the digital single ‘Come Softly To Me’ via Italians Do It Better
HILTIPOP might be a new name but the man behind it is something of a veteran. Magnus Johansson’s best known project was been ALISON, but he began working solo and launched HILTIPOP with a triumphant early afternoon slot at Electronic Summer 2015. It would be 2018 before his first release ‘The Pattern’. Johansson’s sombre darker-tinged pop style fused is evident on ‘Time’, with a sample of SIMPLE MINDS ‘Theme For Great Cities’ thrown into a dynamic squelch fest.
Available on the digital EP ‘The Man’ via Hoyt Burton Records
INTERNATIONAL TEACHERS OF POP brought more of their danceable synthy togetherness to home discos with ‘Pop Gossip’. With a sardonic twist and perhaps referring to the soap opera that is the status of HRH Prince Harry and his wife Meghan Markle, the brilliantly uptempo album closer ‘The Tower’ amusingly imagines Queen Elizabeth II telling her Beefeaters to “Take them to The Tower, it’s a beautiful day, take them away!” like a future scene from series 8 of ‘The Crown’!
Available on the album ‘Pop Gossip’ via Desolate Spools
Unwittingly reflecting the pandemic crisis, KID MOXIE soundtracked the film ‘Not To Be Unpleasant, But We Need to Have a Serious Talk’. The plot centred around a womanizer who finds out he is a carrier of an STD, lethal only to women! She said of ‘Big In Japan’: “It didn’t feel right to necessarily use drums because I did want to take a departure from the ALPHAVILLE original. There was already a strong rhythm element with the synth bass and it takes it to a different place by having a woman sing it.”
Exploring the innocence of ‘Teenage Bliss’, the most recent singular offering from KITE was co-produced by Benjamin John Power, best known as Scared Bones artist BLANCK MASS. The dynamic uptempo combination was wonderfully hymn-like, with Stenemo telling his congregation that “Teenage bliss, there ain’t no consequences in your life and you don’t know what tragedy is” before the bittersweet revelation that “In the end, no-one wins!” as “life is not like your first kiss…”
Available on the digital single ‘Teenage Bliss’ via Astronaut Recordings
LASTLINGS are a Japanese Australian sibling duo comprising of Amy and Josh Dowdle whose debut album title ‘First Contact’ was a reference to the thrill and despair of notable life milestones like first love and first heartbreak. Capturing the anxiety of growing up and the unknown of adult independence, the ethereal electronic drama of ‘Held Under’ was one of its highlights, using subtle house influences while maximising a hauntingly treated layers of female voice.
Available on the album ‘First Contact’ via Rose Avenue Records
LINEA ASPERA released their self-titled debut album in 2012. Before any new listeners had an opportunity to discover and savour them, the duo had already disbanded in 2013. The duo reunited in 2019 and on the superb ‘Event Horizon’, the cutting synthesized hooks, disco drum box rhythms and supreme vocals confirmed how LINEA ASPERA have become such a highly rated and beloved duo and why their magnificent melodic melancholy had been so missed over the past few years.
In a typically NIGHT CLUB twist, the duo found their perfect co-conspirator in former SKINNY PUPPY member Dave “Rave” Ogilvie who mixed Carly Rae Jepsen’s 2011 worldwide smash hit ‘Call Me Maybe’. ‘Die In The Disco’ set the ‘Die Die Lullaby’ album off with a slice of throbbing HI-NRG disco, donning its hat to Giorgio Moroder and Bobby Orlando before asking to “take me to a place I can dance” and an unsettling ghostly pitch-shifted voice exclaims that ”This is my party and I will die if I want to…”
Much has changed for NINA. First the German songstress made some life changes and moved back to Berlin. ‘Runaway’ from this year’s ‘Synthian’ album declared she “searching for a way out”. So it was only natural that any new material would be influenced by the sombre realities around her. The self-explanatory ‘Where It Ends’ made something of a sombre statement with the introspective tones of DE/VISION in building towards a steadfast gothic schwing and penetrating synth solo.
Available on the digital EP ‘Control’ via Lakeshore Records
A ghostly light seen by travellers at night that refers to ignis fatuus or “foolish fire”, the astute intelligence of Neil Tennant and Chris Lowe saw Medieval folk mythology referenced for ‘Will-O-The-Wisp, a fabulous PET SHOP BOYS dance tune with catchy hooks and a dry monologue. From the third of a trilogy of long players produced by Stuart Price and recorded in Berlin’s renowned Hansa Studios, the duo’s fourteen album ‘Hotspot’ maintained the duo’s position as exemplary English songsmiths.
Available on the album ‘Hotspot’ via x2 Recordings
PISTON DAMP are a new electronic pop duo based in Norway comprising of Jonas Groth and Truls Sønsterud. ‘Something In Me’ is what APOPTYGMA BERZERK would sound like in full synthpop mode. Catchy, bubbly, melodic and rhythmic with an emotively spirited vocal, when Jonas Groth hits falsetto, it provides a gloriously optimistic lift reminiscent of APOP’s more immediate work, perhaps unsurprisingly given that he is part of their live line-up in support of his brother Stephan.
Available on the digital single ‘Something In Me’ via Sub Culture Records
Recording a collaborative album with Austria’s POWERNERD, the joyous result ‘Megawave’ was Canadian synth starlet Dean Jean Phoenix’s most sonically consistent body of work yet, reflecting her powerhouse stage persona in recorded form fully for the first time. A fun and dynamic collection, the album’s highlight ‘Fight These Robots’ was a classic funky Sci-Fi number with a dose of girly cheekiness and a reflection of a childhood watching ‘Transformers’ cartoons.
Available on the album ‘Megawave’ via Outland Recordings
Described as “Slacker synth-wave refuseniks”, POLYCHROME and their brand of filmic dreamwave as showcased on their self-titled 2018 debut album found favour with TV producers and advertising agencies, particularly ‘Final Kiss’. Continuing the kissing theme, their recorded return Starts With A Kiss’ featured an unexpected but fitting guitar solo but was made extra special by the dreamy voice of Vicky Harrison who said “we’d finished with a kiss, so now wanted to start with one”.
For Bristol-based Finlay Shakespeare, his interest in synths came from his parents’ record collection. His second album ‘Solemnities’ was a more focussed progression from his debut, making the most of a crystal clear modular synth sound coupled to his claustrophobic anxious vocals. The superb ‘Occupation’ was a metronomic squelch fest about social injustice, a raucous avant noise experiment in song with penetrating noise percussion and icy string machines.
Available on the album ‘Solemnities’ via Editions Mego
With her arty but catchy electronic pop, Emilie Simon studied at the Sorbonne and her only release primarily English release was ‘The Big Machine’ in 2009. Using Martian invaders as a metaphor to the world pandemic, she expressed her feelings on the ‘Mars on Earth 2020’ EP. The best track was the powerful ‘Cette Ombre’ on which she summised “Planet Earth is under attack. Faced with an unknown invader, humanity is experiencing an unprecedented shift. What will remain of it?”
Now adding a “THE”, SMASHING PUMPKINS surprised many with a splendid synth friendly single entitled ‘Cyr’. With hooks very reminiscent of ‘Enjoy The Silence’, Billy Corgan & Co went synthpop with much of the track being of an electronic bent, particularly the synthetic bass. Not only that but ‘Cyr’ was also quite catchy in an almost DURAN DURAN vein! It was magnificent surprise that highlighted the hopelessness of the more recent material from DEPECHE MODE.
Available on the album ‘Cyr’ via Sumerian Records / Warner Music Group
If there was a song that captures the claustrophobic solitude of lockdown, then it was ‘Small World’ by SNS SENSATION, the musical vehicle of Sebastian Muravchik, best known as the charismatic front man of HEARTBREAK. A song about self-isolation during the pandemic crisis, ‘Small World’ was a throbbing electronic number with icy rhythms, marrying the elegance of minimal synth with the melodic presence of Italo disco, reminiscent of VISAGE and PET SHOP BOYS.
Less than three years after ‘Hippopotamus’, SPARKS offered ‘A Steady Drip, Drip, Drip’. As idiosyncratic as ever, if there was a key track, then it was the glorious ‘One For The Ages’; with a narrative about craving artistic longevity, the lines “As I write my tome every single night, my eyes show the strain of computer light but I’m pressing on” captured the lot of the creative mind. Already very synthy, the Mael Brothers probably could have made it even synthier!
ZACHERY ALLAN STARKEY featuring BERNARD SUMNER Force
With two albums under his belt, since opening for NEW ORDER in 2016, Zachery Allan Starkey has been working hard on his observational concept album ‘Fear City’. ‘Force’ was a powerful collaboration with Bernard Sumner featuring his signature Italo-influenced sequencing style. Starkey’s impassioned authentic vocals were a rallying call with the daunting prospect of Donald Trump being re-elected on the horizon. Thankfully, the message on jointly produced track was heeded.
ULTRAFLEX are a new duo based in Berlin who describe themselves as “The new teen sensation” with an interest in Soviet disco, athleisure and weirdo boogie. Kari Jahnsen and Katrín Helga Andrésdóttir are better known by their solo monikers FARAO and SPECIAL-K respectively. ‘Olympic Sweat’ was uplifting disco lento with an organic heart, a pretty tune with an expansive sweeping resonance that was reminiscent of SIN COS TAN, PET SHOP BOYS and NEW ORDER, but with a feminine twist.
If there was a musical duo who visually symbolise the dystopian paranoia of the world pandemic crisis, then it is UNIFY SEPARATE, formally known as US. ‘Solitude & I’ was a natural progression with Andrew Montgomery not letting up with his Jeff Buckley inspired vocal delivery, reflecting the isolation and uncertain future as “There’s nobody out there, no-one but you and I”. Anthemic, uplifting and optimistic, it was a message to all about never giving up on your dreams.
Capturing a dystopian outlook on life with an appealing electronic sensibility, ‘Black Kiss’ was the best VANDAL MOON album yet. With a sound seeded from post-punk, goth and new wave, they are shaped as much by their use of drum machines and synthesizers as much as guitars and the inevitable deep baritone vocals. The superb electro-gothic aesthetics of ‘Suicidal City Girl’ recalled the enthralling tension of THE DANSE SOCIETY and a highlight of a record with many highlights.
Available on the album ‘Black Kiss’ via Starfield Music
On ‘Forever’, Greek dark synth songstress Marva Von Theo channelled the frantic tone of ‘River In Me’, the Anders Trentemøller’s collaboration with Jenny Vee of SAVAGES, into a great atmospheric art pop statement on redemption and eternity. A track from her upcoming second album ‘Afterglow’, with determined vocals and punchy beats, ‘Forever’ demonstrated, along with its singular follow-up ‘Ruins’, a significant artistic progression.
Available on the digital single ‘Forever’ via Marva Von Theo
WHITE DOOR released their only album ‘Windows’ in 1983. The melodic synth trio gained cult status and one young fan was Swedish synthesist Johan Baeckström who joined the band for their return. Borrowing the ’Get Carter’ theme but with a more brassy flair, ’Resurrection’ surprised with a bouncy Moroder-inspired stomp while Mac Austin managed to sound like a cross between Morten Harket and Chris De Burgh around some beautifully symphonic synth.
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KNIGHT$ + SNS SENSATION with DJ Dame Bonnet play The Black Heart, 2-3 Greenland Place, London NW1 0AP on Friday 2nd June 2023, nearest underground Camden Town – tickets in advance from https://www.seetickets.com/event/knight-special-guests/the-black-heart/2632539 
release. The cardboard packaging was reported to be flimsy and prone to dents, while there was continuity errors galore as Dave Gahan rather cluelessly and selfishly wore different coloured outfits over the two nights in Berlin that the live footage was filmed under the direction of Anton Corbijn.
via Tonight Records
is released by Blanc Check
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via Northern Writes
via Italians Do It Better
via Hoyt Burton Records
via Desolate Spools
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via Astronaut Recordings
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via Lakeshore Records
via x2 Recordings
via Sub Culture Records
via Outland Recordings
via Outland Recordings
via Editions Mego
via Vegetal
via Sumerian Records / Warner Music Group
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