When CHVRCHES released ‘The Mother We Share’, it was described as “the sound of TAYLOR SWIFT gone electro”.
And now with the kaleidoscopic ‘Get Out’, the bouncy first song to be previewed from CHVRCHES’ as-yet-untitled third album, Lauren Mayberry, Iain Cook and Martin Doherty have gone the full Taylor and presented their most overt pop statement to date.
Despite rumours that David A Stewart of EURYTHMICS fame was to produce the next CHVRCHES album, the trio have turned to Greg Kurstin whose credits have included ELLIE GOULDING, SIA, LILY ALLEN, LITTLE BOOTS, LADYHAWKE, MARINA & THE DIAMONDS, KELLY CLARKSON, LANA DEL REY, ADELE, KATY PERRY and yes, TAYLOR SWIFT!
With Miss Swift’s CHVRCHES aping ‘Gorgeous’ hitting the airwaves of late, there has obviously been something of a language exchange between both parties. With a highly infectious chorus and bridge attached to the Glaswegians’ usual percussive trademarks, ‘Get Out’ is one of those supreme singalongs.
The song’s accompanying multi-screen surveillance style video sees Cook pondering over a vintage computer in the studio while Mayberry is captured in a restroom, lipstick drawing a crossed-out heart in what appears to be this album’s campaign logo; this is an image that has actually appeared before, having previously adorned the artwork of TRIO, DURAN DURAN and NIGHT CLUB.
And in a move reminiscent of DEPECHE MODE’s phoneline promotional campaign for ‘Personal Jesus’, pay close attention to the video and a phone number appears in one of the screens which when actually dialled, reveals a recording of Mayberry reading some shadowy prose…
CHVRCHES go into this third album phase on an artistic high, having delivered in ‘Every Open Eye’, a decent second album; this was something that LITTLE BOOTS, LA ROUX, LADYHAWKE or HURTS never managed! So while expectations are high, they have forward momentum.
But a slight word of warning though… more live drums beckon!
‘Get Out’ is released by Virgin Records on the usual digital platforms
A conceptual opus based around George Orwell’s ‘1984’ but looking at the spectre of ‘Big Brother’ five years on, TAYLOR SWIFT’s ‘1989’ sold over a million physical copies during its first week in the US.
This was a release which was confined to CD and digital download variants with no concessions towards streaming and, initially in the first few months of release, vinyl. Moving away from her Nashville roots, tracks like ‘Blank Space’ and ‘Out Of The Woods’ flirted with synthpop in the manner of CHVRCHES. Meanwhile ‘Style’ and ‘Clean’ took the electro mode even further, with the latter being a collaboration with modern day technology queen IMOGEN HEAP.
One track that did not fit in with the ‘1989’ concept and therefore restricted to deluxe bonus track status was ‘New Romantics’. But the now New York based pop princess’ celebration of the most colourful of youth movements in the 20th Century has been released as a single in its own right.
Miss Swift’s opening gambit of “We’re all bored, we’re all so tired of everything” quite vividly references The Winter of Discontent, increasing unemployment and the onset of Thatcher’s Britain, although PET SHOP BOYS’ Neil Tennant recently referred to Swift as the “Margaret Thatcher of pop music”. With the social economic purge by the current Cameron government, these lyrics also resonate in the current climate.
But on the packed dancefloor of The Blitz Club, people were forgetting their troubles and “too busy dancing to get knocked off our feet”, while with eyeliner in abundance (and that was just the boys!), Miss Swift recalls the “tears of mascara in the bathroom”. With “trains that just aren’t coming”, the lack of all-night public transport for club goers in London back then was only too apparent. And it is a problem that sadly still afflicts the capital today.
Closing with the profound line “The best people in life are free”, it is a reflection of the creative spirits that emerged from within the outrageously attired clientele like VISAGE, SPANDAU BALLET, CULTURE CLUB and LANDSCAPE. And of course “every night with us is like a dream”.
Coupled to a classically rigid Linn Drum derived beat, if Miss Swift’s inherent Americanisms were not so apparent, this enticing electropop number could easily be mistaken for the dreamy allure of Scandipodean twins SAY LOU LOU, thanks to the input of Swedish producers Max Martin and Shellback. It was LANDSCAPE’s Richard James Burgess who first coined the term “New Romantic”.
And with this historic narrative on The Blitz Club, ’New Romantics’ has become the original resident DJ Rusty Egan’s favourite TAYLOR SWIFT song.
The success of CHVRCHES is proof that there is still an international market for synthpop.
Successfully overcoming the second album syndrome that afflicted LITTLE BOOTS, LA ROUX, LADYHAWKE and HURTS, ‘Every Open Eye’ showcased a refined CHVRCHES and their knack for great songwriting. Now elevated to arena status, the gigs at the SSE Hydro in their hometown of Glasgow and tonight at London’s Royal Albert Hall are evidence of how far CHVRCHES have come.
It’s been an upward trajectory for Lauren Mayberry, Martin Doherty and Iain Cook since their debut album ‘The Bones Of What You Believe’ in 2013. As well as selling half a million copies worldwide, Taylor Swift notably borrowed their sound for her song ‘Out Of The Woods’. However, the success had taken its toll on the group’s frontwoman, with online misogynistic attacks and criticisms of her static stage presence.
This has been tough on her psyche but thinking positively, a change in approach has successfully allowed her to differentiate between her public and private personas. This attitude is reflected in Mayberry’s new found confidence on stage, while she still retains her charming, down-to-earth banter with the audience in the manner of a student who still can’t quite believe she has the best job in the world. Appropriately, the opening ‘Never Ending Circles’ is her fight back manifesto.
Known for practically standing still at CHVRCHES earlier shows, tonight she is back and forth, punching the air with aplomb, as the following ‘We Sink’ from ‘The Bones Of What You Believe’ reinforces the mood. Aided by three screens displaying everything from pixelated images themed around the ‘Every Open Eye’ artwork, to the bars and triangles last seen on Gary Numan’s ‘The Touring Principle’ shows, CHVRCHES have indeed developed as a live act.
The presence of frantic new numbers like ‘Keep You On My Side’, ‘Make Them Gold’ and ‘Empty Threat’ reflect the influence of their American success. With an air of controlled aggression, Mayberry therapeutically pounds an electronic percussion set on the latter and Cook even ventures out with his bass. These are more new wavey tracks that could have made the soundtrack of a classic Brat Pack movie from back in the day
Riding on the natural momentum of those songs, Mayberry and Doherty swap positions for the live debut of ‘High Enough To Carry You Over’. A big improvement on ‘Under The Tide’ and ‘You Caught The Light’ from their debut, it’s a credit to Doherty for taking singing lessons and delivering a fine slice of Trans-Atlantic pop.
The punchy ‘Playing Dead’ keeps things lively before the brilliantly hypnotic power of ‘Science/Visions’, complimented by a mad display of lighting. A sprightly ‘Gun’ continues the first album innocence until Mayberry drops to the floor. Remaining there for the first verse of ‘Bury It’, this is a slice of feisty machine pop that will become a girl anthem of the future.
Doherty makes his return to the mic for the polarising ‘Under The Tide’; the CHVRCHES faithful lap it up, but the casuals sitting further back in the huge confines of the Royal Albert Hall take the opportunity for a comfort break. With his one-legged kick dancing, what can’t be denied though is The Dok’s enthusiasm and sense of fun. The sweet but solemn ‘Recover’ acts as a breather, before the momentum of the home stretch is raised with ‘Leave A Trace’.
A magnificent ‘Clearest Blue’ closes the main set, wonderfully held in a state of tension before the potent lift in the final third which sends the Royal Albert Hall crowd into a total frenzy. For the encore, ‘Afterglow’ with its angelic ambience sees Mayberry exposed and practically acapella; it is a beautiful moment which adds a new string to CHVRCHES’ bow. Finishing with ‘The Mother We Share’, this song of such quality that it really could be covered by Taylor Swift and sell millions!
Tonight, CHVRCHES are at the height of their powers and even feel able to leave out their calling card ‘Lies’. Two albums on and several world tours later, CHVRCHES have proved themselves as the saviours of synthpop.
What this Glaswegian trio have managed to do is get youngsters listening to electronic music outside of the brainless EDM complex. As far as synthpop is concerned, this can only be a good thing for the future of the genre.
‘Every Open Eye’ is released by Virgin Records as a CD, deluxe CD with three bonus tracks, vinyl LP and download
CHVRCHES have actually achieved what LITTLE BOOTS, LA ROUX, LADYHAWKE or HURTS never managed; a decent second album!
And the best bit is, it’s a logical development of the first. None of this going house, disowning synths, rocking out or turning into SIMPLE MINDS nonsense! Hallelujah! Here’s a synthpop band actually using synths and proud of it!
Recorded in their basement studio in Glasgow and again self-produced, Iain Cook, Martin Doherty and Lauren Mayberry have taken a less complex approach to their effervescent synthpop on ‘Every Open Eye’. On mixing duties, the more electronically tuned Mark ‘Spike’ Stent works his magic behind the desk rather than MUSE producer Rich Costey who looked after the debut ‘The Bones Of What You Believe’. The end result is more varied and possibly, even better than its predecessor.
The album sees Mayberry in particularly feisty mood, emerging as a fighter following playing the victim on CHVRCHES’ debut. The apparent sweetness of her voice is again countered by vintage electronic backing, maintaining the light / shade demeanour that has made CHVRCHES so appealing throughout the world, especially in territories like South East Asia and the US which had all but forgotten synthpop.
The opening salvo of ‘Never Ending Circles’ is a statement of intent, a darker cousin of ‘Recover’ with a fight back manifesto. Mayberry is certainly biting at her detractors and while she’s not quite turned into a riot-grrrl, from a CHVRCHES perspective, this is a fair turn of assertiveness and aggression.
‘Leave A Trace’ is tougher still, “You took far too much” exclaims Lauren, on the attack. But what must not be forgotten is that this is an exemplarily pop song. Indeed, it could be a megahit if covered by TAYLOR SWIFT, who it has to be said, has mined CHVRCHES’ sound for her enjoyable ‘1989’ opus. Mayberry may be the anti-Taylor, but she has a few things in common with the starlet. With the horrid barrage of online misogyny she’s had to endure, Mayberry has had to shake it off too. Putting her energy into her art, with its booming backing, ‘Leave A Trace’ is a very personal song that acts as an inspiration to all.
‘Every Open Eye’ contains a delicious trio of uptempo electropop numbers that have been clearly influenced by the band’s success in America, possibly from watching Jerry Bruckheimer movies on the tour bus. With ‘Keep You On My Side’, the threesome deliver a pounding triplet stomper complimented by responsive synth phrases.
On the even more frantic ‘Make Them Gold’, Mayberry needs a hero with pounding electronic drums and widescreen chords dominating proceedings. Yes, this could easily be a song from a montage scene in a Rob Lowe / Demi Moore film but despite these explicit Americanised overtones, they’re perhaps not as overt as GOLDFRAPP’s AOR flirtations were on ‘Head First’.
Just when you thought it couldn’t get any more epic, there’s ‘Empty Threat’ which takes its lead from Oscar winning era Moroder, with a rock disco arrangement held down by a solid rhythm section. Despite this, there’s space within the dynamics. Some may consider it retro, but this is classic songwriting that is a pleasure to the ears, especially compared to DURAN DURAN’s painful EDM blow-out on ‘Paper Gods’.
The propulsive four-to-the-floor action of ‘Clearest Blue’ shows how far CHVRCHES have developed. Although not unlike an amalgam of ‘Gun’ and ‘Science/Visions’ from ‘The Bones Of What You Believe’ , ‘Clearest Blue’ is more accomplished. CHVRCHES’ productions are now less gimmicky and proof that the team of Mayberry / Doherty / Cook are comfortable in their own skins. Not needing to overtry, ‘Clearest Blue’ is wonderfully held in a state of tension before WHACK, there’s a potent surprise in the final third that recalls the distinctive overtures of Vince Clarke. The song is indeed, magnificence embroiled.
But it’s not all four-to-the floor. The template that CHVRCHES borrowed from PURITY RING is still omnipresent, and while their Canadian contemporaries have made themselves more accessible with this year’s ‘Another Eternity’ album, the Glaswegians have been more adept at using it within a pop context. A crunchy off-kilter percussion sequence provides the backbone for the pretty ‘Down Side Of Me’, but the proof is most obvious when Mayberry’s Trans-Atlantic lilt closely resembles Megan James during the middle eight. ‘Playing Dead’ is closest to the previous sound of ‘The Bones Of What You Believe’ but with a rockier slant. A belting chorus sees Mayberry going into battle again, with her announcing “you can tell me to jump, but I won’t go!”.
The two Martin Doherty vocalled tracks on ‘The Bones Of What You Believe’ polarised opinion and his voice makes an appearance again on the Oberheim driven funk of ‘High Enough To Carry You Over’. Is The Dok as technically accomplished a singer as Mayberry? Well, the factual answer is no… but taking on a more Americanised drawl in the vein of MISTER MISTER, this is a big improvement on his auditions for THE XX on the last long player.
Rugged machine synths burst into action for the wonderful ‘Bury It’; “I never promised you anything I couldn’t do” Mayberry exclaims, “we try to bury it and rise above”. With a barrage of stabs that haven’t been heard this side of NEW ORDER’s ‘Round & Round’, this is a determined anthem for female solidarity… and it WILL get covered!
To finish, ‘Afterglow’ is another Canadian inspired twist that takes CHVRCHES closer to ELECTRIC YOUTH instead of PURITY RING. With just some Eno-esque ambience providing the backing and no drums or sequences, it is a beautiful song that makes for a perfect ending. Recalling EAST INDIA YOUTH’s ‘Carousel’, it also showcases a developing musical maturity. “I’ll find my own way back…” declares Mayberry, all exposed and vulnerable before in a state of heartfelt resignation, she cries out “I’ve given up all I can…”
A track originally from Zane Lowe’s bizarre 2014 ‘Drive: Rescore’ collection, ‘Get Away’ is the first of the deluxe bonus tracks and although excellent, it’s easy to see why it has been relegated to this status. It shows CHVRCHES in a state of transition, continuing the glitch vocal processing techniques characteristic to the trio’s earlier signature sound while finding its feet in a more assured direction.
For those who don’t get the popularity of CHVRCHES, ‘Every Open Eye’ is supreme pop music. The repetitive eight minute blips of FACTORY FLOOR, this is most certainly not. What the Glaswegian trio have managed to do is get teenagers listening to classic synthpop, people who don’t necessarily know or even care what a Jupiter 8 is. And that can only be a good thing for the future of the genre.
As for CHVRCHES, they have proved themselves more than adept as songwriters and producers… a career in Hollywood and Taylor Swift collaborations beckon.
‘Every Open Eye’ uses the following synthesizers: Moog Voyager, DSI Prophet 08, Roland Juno 106, Korg MS20 Mini, DSI Prophet 12, Roland Jupiter 8, Oberheim OBXa, Korg Polysix, Moog Sonic Six and Korg ARP Odyssey
‘Every Open Eye’ is released by Virgin Records on 25th September 2015. It is available as a CD, deluxe CD with three bonus tracks, vinyl LP and download
CHVRCHES UK Tour includes:
Brighton Dome (16 November), Bristol O2 Academy (17 November), Manchester Albert Hall (19 November), Newcastle, O2 Academy (21 November), Aberdeen Music Hall (23 November), Dundee Fat Sam’s (24 November), Birmingham O2 Academy (25 November), London Alexandra Palace (27 November)
With their debut album ‘The Bones Of What You Believe’ due out on 23rd September 2013, CHVRCHES will be re-issuing the gloriously sumptuous ‘The Mother We Share’ on 16th September to precede it.
Originally released in the Autumn of 2012, the mix has been slightly polished up and features what sounds like a re-recorded vocal. With it comes a glossy new promo video, courtesy of the budget now available having signed to Virgin Records.
Like TAYLOR SWIFT gone electro having uprooted to Berlin, ‘The Mother We Share’ is synthpop perfection and there is even a mash-up of TAYLOR SWIFT’s ‘We Are Never Ever Getting Back Together’ and the Glaswegians’ ‘Recover’ doing the rounds that confirms the description is not quite as daft as it seems… whatever, CHVRCHES immediacy can be explained within that song. Despite the catchy chorus, ‘The Mother We Share’ is not wholly bubblegum and futuristic sounds warble off and on!
It has been a most amazing 2013 for Lauren Mayberry, Iain Cook and Martin Doherty. As well as coming 5th in BBC Sound Of 2013 and 2nd in Blog Sound of 2013, the trio have been impressing in Europe supporting DEPECHE MODE on five of their summer stadium dates. German Mode fan Grit Cheraka commented on eLECTRICITYCLUB.CO.UK’s Facebook “they were great in Prague!” while Holger Splanemann added: “The very best part of the DM show in Prague. I wanted electronic music and got it only from Chvrches. Never again DM… but for sure Chvrches”.
With their debut album featuring songs such as the hook laden but progressive ‘Night Sky’, the piercing beauty of ‘Lungs’, the affected off-kilter anthem ‘Recover’ and the rousing calling card of ‘Lies’, CHVRCHES could make a true believer of anyone.
‘The Bones Of What You Believe’ is released by Virgin Records on 23rd September 2013 and available for pre-order as a CD or vinyl LP via Amazon
CHVRCHES UK live dates include:
Glasgow ABC (10 October), Sheffield Leadmill (12 October), Manchester Ritz (14 October), Bristol Anson Rooms (15 October), London Shepherd’s Bush Empire (17 October)
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
‘Get Out’
and 
flirted with synthpop in the manner of 
concept and therefore restricted to deluxe bonus track status was 
. But the now New York based pop princess’ celebration of the most colourful of youth movements in the 20th Century has been released as a single in its own right.
showcased a refined 
in 2013. As well as selling half a million copies worldwide, Taylor Swift notably borrowed their sound for her song ‘Out Of The Woods’. However, the success had taken its toll on the group’s frontwoman, with online misogynistic attacks and criticisms of her static stage presence.
is her fight back manifesto.
, this is a slice of feisty machine pop that will become a girl anthem of the future.
.
closes the main set, wonderfully held in a state of tension before the potent lift in the final third which sends the Royal Albert Hall crowd into a total frenzy. For the encore, ‘Afterglow’ with its angelic ambience sees Mayberry exposed and practically acapella; it is a beautiful moment which adds a new string to CHVRCHES’ bow. Finishing with 
, this song of such quality that it really could be covered by Taylor Swift and sell millions!
is released by Virgin Records on 25th September 2015. It is available as a CD, deluxe CD with three bonus tracks, vinyl LP and download
Follow Us!