Tag: The Cure (Page 5 of 5)

MACHINISTA Interview

29 June 2015 /

Germany was effectively the spiritual birthplace of electronic music as we know it. But it was via Synth Britannia that the pop variant spawned and took over the world.

While electronic music has now mutated into EDM and the modern variant of R’n’B, today traditional synthpop is a less common, but still much appreciated artform. Over in the Nordic basin though, synthpop is alive and well. Continuing on the tradition laid down by veterans such as LUSTANS LAKEJER, PAGE, SMPJ, S.P.O.C.K. and COVENANT, flying the Sveriges flagga alongside KITE, KARIN PARK, IAMAMIWHOAMI, DAYBEHAVIOR and TRAIN TO SPAIN have been MACHINISTA.

Since appearing at ‘An Evening With The Swedish Synth’ in Spring 2013, the duo of John Lindqwister and Richard Flow impressed audiences internationally with their debut long player ‘Xenoglossy’. Their catchy and danceable sound has been compared to THE CURE gone electro and ALPHAVILLE crossed with SUICIDE. Despite MACHINISTA obviously having a pop element, they have a harder edge and lyrically, their material takes on a heavier spectre, as exemplified by ‘Love And Hate Song’, ‘Molecules & Carbon’ and ‘Pushing The Angels Astray’.

The new album ‘Garmonbozia’ is a natural progression from ‘Xenoglossy’, but with more real guitars added to the mix alongside their beloved softsynths. From the glorious ‘Picture Frame Eternity’ and the melancholic ‘Dark Heart Of Me’, to the passionate native tongue of ‘Brandbergen, Stockholm Via Kalmar Till Malmö’ and the deviant disco of ‘The Bomb’, MACHINISTA remain on form and true to their sound.

ELECTRICITYCLUB.CO.UK spoke to John Lindqwister and Richard Flow about MACHINISTA’s journey so far and their future ambitions.

When you formed MACHINISTA, you had each been involved in CAT RAPES DOG and VISION TALK. How did you set out to make MACHINISTA different from your past work?

John: I think for me it was a matter of singing more clearly, but I didn’t really know how it would sound. But I think I kinda found my voice when I had my postpunk band just before, DEPARTEMENTET, where I actually sang in Swedish. That was what I wanted, that voice. In fact the song ‘Brandbergen, Stockholm Via Kalmar Till Malmö’, in that one I have THAT voice. Even the lyrics for that song started back then.

Richard: For me, VISION TALK had come to an end and I wanted to start up something new and fresh and to focus a lot more on music. It was pretty exciting since I’d always been a big fan of John´s other bands. And we really found our own “style” I think.

You have described your music as “synthpop with a rock ‘n’ roll edge”… some might consider that ‘synthpop’ is a dirty word? What do you say to that?

John: That’s weird, but I get that feeling and it was the same with my old band BASSWOOD DOLLIES. We had that feeling there to. I think it has to do with what we normally listen to, and of course our background. I started out listening to Elvis and other rock music and moved on the synth as I reached 13-14 years old when KRAFTWERK, YAZOO, OMD, JOHN FOXX, ULTRAVOX, FAD GADGET etc and so on, you know those sort of lovely acts. Then I moved on the goth metal, death metal etc.

No it’s just music that’s good, all from these good 80s bands to singer / songwriters like JOHN GRANT and acts like I BREAK HORSES or whatever. And yeah the word synthpop has a bad vibe about it, especially if you want to break big time. I think a band can fail to get attention a bit when labelled synthpop. Sad I think, but all music seems to get filed in a certain kind of genre. Its music ok, that’s enough.

Richard: It’s so damn hard to put a “genre” to music nowadays. But of course there’s a lot of synthpop in our music, but like I mentioned, I think we found our own style with MACHINISTA. And with some more guitars added on the new record as well as live, there is some rock-n roll edge to it! You never know what to expect from us hehe!

You launched MACHINISTA with a cover of Bowie’s ‘Heroes’… that was a bold move?

John: I just love that song and thought it could be done easily. Easy to sing, not to do better, haha! ‘Life On Mars’ would be harder and I love that one too.

Richard: Bowie is one of the really big ones out there, so we did the song with respect. A lot of people seem to like our version so we are more than happy. Actually ‘Heroes’ was the first song along with ‘Molecules and Carbon’ that we recorded.

Your debut album ‘Xenoglossy’ was very impressive. Some of the lyrics like on ‘Pushing The Angels Astray’ were quite heavy. What inspired those thoughts?

John: It’s way easier to write darker lyrics than those with lightness in there. I guess it is kind of a way to get through sh*t, to write about it. I tend to write more about the past these days as I don’t feel bad now. But life isn’t easy, I find it really difficult navigate through it, every day. I’ve never felt that I fit here amongst all these humans. I’ve learned to deal with them and with this reality that we see, but it’s hard and weird. I really hope there is something else after, I would love to be in a more abstract world where you can change everyday life in way you can’t now. Nuff of that… haha!

Another standout song was ‘Molecules & Carbon’. Does the human condition prey on your mind a lot coming towards middle age?

John: Yes, the more you learn, the more you get to be a misanthrope. That’s the downside getting older I think, that you learn and see too much. Your inner child dies a little bit every day. Sad I think. I fear what my daughter Astrid will react as she goes on in life. Pretty sensitive she is…

The label that released ‘Xenoglossy’ folded not long after its release. How did that affect the momentum you had built up at that time?

Richard: Of course it was sad! But, both me and John did promote MACHINISTA pretty hard on Facebook, Twitter etc so we did manage to spread our name and music anyway.

Also, after the release of ‘Xenoglossy’ we had started to get a lot of offers from other labels so when we had half of ‘Garmonbozia’ finished, we kinda knew that things would work out fine. We are more than happy now with our new home Analogue Trash Records.

How would you describe your new album ‘Garmonbozia’ and how does it differ in approach from ‘Xenoglossy’?

Richard: I think with ‘Garmonbozia’, we did manage to get a more clear red line through all the songs with some more acoustic elements here and there, but in the right dose. ‘Xenoglossy’ was more like me and John came together and started to find out the direction to take. A bit darker and less synthpop as well. I am more than happy about all good feedback so far.

How did you arrive at the title ‘Garmonbozia’, is it anything to do with ‘Twin Peaks’? 

Richard: Yes, it´s this word that David Lynch came up with. It means “Pain and sorrow”. It did fit our darker sound and because our first album had a weird word, we liked this a lot. One can only speculate what the title for our next album will be haha!

‘Brandbergen, Stockholm Via Kalmar Till Malmö’ is sung in Swedish, what is the song about and did you try an English version at all?

John: Nope, it was meant to be in Swedish and as I said, the lyrics started out a long time ago. But you can read the lyrics in English at our site. Just translated, they don’t fit the melody!

‘Picture Frame Eternity’ and ‘Dark Heart Of Me’ are both very accessible highlights from the album, what are the stories behind these two?

John: Lyricwise ‘Picture Frame Eternity’ is about thinking what happened in the past of my life and that time seems to move faster as life goes by, and thinking “what happened with all these years?”

‘Dark Heart Of Me’ is about not having loved in many years and that it hides somewhere deep inside. Of course, I have love for my child and that has been a saviour I think.

‘The Bombs’ has an electro disco feel, where has this influence sprung from?

John: Haha, I have not even thought about that. Richard has to answer that one!

Richard: Because we go to disco every single night! No haha! Actually the first version of ‘The Bombs’ had a completely different rhythm in the drums. I actually did get stuck with this song and I wasn’t happy at all about the music. Once I did change the bass drum to a simple 4/4, I was back on track again. Most of the sounds from the original version I did keep, so perhaps a simple 4/4 bass drum mixed with the sounds for this original rhythm created this “disco” feel, or whatever you may call it hehe

One thing that is very noticeable about ‘Garmonbozia’ is the dynamic production. Were there any particular techniques used to achieve this, or is that a secret?

Richard: Hehe, well as a musician I always try to evolve. I learn something new every single time I create music and that is inspiring. With every song I work on, I always try to do it better than the last one before. I think the input with acoustic elements and guitars here and there did affect our songs and production in a good way.

Do you have any favourite synths that you like to use?

Richard: It´s more or less VST synths I work with and there is a lot of good ones out there. Omnisphere, Sylenth1, Predator, Kontakt to mention a few.

Is there a synth you have not yet owned but would like to?

Richard: When we play live, I sometimes have hardware synths but I must admit, since I started to work with VST synths, I am not so updated anymore. John did receive some cool stuff from an old band member that we will look into and probably use on stage!

John: Yeah, it’s a drum module called Zoom and a Kaosillator, and something more.

Where do you think MACHINISTA sit within the current electronic scene? Who do you regard as your peers?

John: That’s not an easy question cos I don’t really listen to the scene much. For me, it’s still those good old ones and I can’t drag in Bowie or THE CURE into this. Well THE CURE is in the thoughts of people it seems when they hear us. THE CURE gone electro, hehe. That’s fine with me. Other than that, I can say that I think we should gig with COVENANT, APOP or even more with PLACEBO or INDOCHINE. It would be loooovely.

Are there any classic acts who you love that you aspire to be as successful as?

John: Haha there’s a bold answer to that… DEPECHE MODE! Haha well I would be happy if we could be big as COVENANT.

The music scene in Sweden is particularly vibrant at the moment… so what’s so special about Sweden then?

John: I have no f*cking clue to that! But Sweden is a huge exporter of music. We’re second or third biggest in the world, I think we broke the UK some years ago…

Richard: Like John says, Sweden is a big music exporter with a lot of good bands. It may sound like a cliché, but I think this Scandinavian melancholy has something to do with our music writing up here.

What’s next for MACHINISTA?

John: To get bigger and get paid for our f*cking gigs, right!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to MACHINISTA

‘Garmonbozia’ is released by Analogue Trash Records in CD and download formats from http://trashdigital.co.uk/album/garmonbozia-at0018

http://www.machinistamusic.com/

https://www.facebook.com/machinistamusic

Text and Interview by Chi Ming Lai
29th June 2015

25 FAVOURITE ARTIST COLLABORATIONS

25 May 2015 /

Artist collaborations can be seen in several ways.

They are either a chance to take the best elements of great bands to form an even greater supergroup, or as has happened in many cases, there is a watering down of prime concepts which results in a fragmented mess of little interest to anyone.

So here are 25 artist collaborations that actually worked; the list is restricted to one song per main act, defined as being the one who released the parent album.

That means PET SHOP BOYS, who have been among the most ubiquitous and willing of conspirators, get to appear as themselves and as guests of ELECTRONIC and David Bowie while NEW ORDER’s Bernard Sumner appears as part ELECTRONIC as well as also moonlighting for THE CHEMICAL BROTHERS and Philip Oakey of THE HUMAN LEAGUE gets in there twice as a guest.

Over more recent years, there appears to have much more freedom for artists to collaborate, notably with SPARKS recently unveiled collaboration with Glasgow based art rockers FRANZ FERDINAND, named rather straightforwardly FFS. And this is reflected by this list here which has a bias towards new millennium recordings, although ELECTRICITYCLUB.CO.UK is pleased to say, this is a Calvin Harris free zone 😉

SYLVIAN SAKAMOTO Bamboo Houses (1982)

David Sylvian and Ryuichi Sakamoto were making their artistic presence felt outside of JAPAN and YELLOW MAGIC ORCHESTRA, and having collaborated on ‘Taking Islands in Africa’, another project was always on the cards. ‘Bamboo Houses’ expanded on the electro-acoustic textures of ‘Tin Drum’ over a catchy percussive framework courtesy of Steve Jansen. Sylvian delivered his usual mournful vocal but Sakamoto’s monologue and marimba gave the track ethnic authenticity.

Available on the DAVID SYLVIAN compilation ‘A Victim of Stars 1982-2012’ via Virgin Records

http://www.davidsylvian.com/

http://sitesakamoto.com/

MIDGE URE & MICK KARN After A Fashion (1983)

‘After A Fashion’ was a blistering sonic salvo that crossed the best of JAPAN’s rhythmical art muzak with ULTRAVOX’s ‘The Thin Wall’. However, it stalled at No39 in the UK singles charts and sadly, there was to be no album. But Karn later played on Ure’s ‘Remembrance Day’ in 1988 and Ure briefly joined JBK, the band formally known as JAPAN sans David Sylvian for an aborted project in 1992 that resulted in two songs ‘Cry’ and ‘Get A Life’. Sadly Karn passed away in 2011.

Available on the MIDGE URE album ‘No Regrets’ via Music Club Deluxe

http://www.midgeure.co.uk/

http://mickkarn.net/

SHARPE & NUMAN Change Your Mind (1985)

Very much seen as the odd couple, the duo’s promotional photos captured the curly haired jazz funk aficionado with The Iceman! Bill Sharpe was pianist with jazz fusion group SHAKATAK. Together with their drummer Roger Odell, they had written a piece of computerised electrofunk that needed a vocal. Engineered by Nick Smith who had also been working with Gary Numan, he suggested that the former Mr Webb would be ideally suited to the futuristic backing.

Available on the SHARPE & NUMAN album ‘Automatic’ via Cherry Pop

http://www.numan.co.uk

http://www.billsharpe.com

LES RITA MITSOUKO & SPARKS Singing In The Shower (1990)

In France, LES RITA MITSOUKO became unlikely pop stars thanks to danceable hit singles such as ‘Marcia Baïla’ and ‘C’est Comme Ça’. Vivacious singer Catherine Ringer and oddball instrumentalist Fred Chichin were influenced by the eccentric overtures of SPARKS and with a moniker in a similar vein to their ‘Kimono My House’, an artistic union was inevitable. With the two duos “feeling dirty and feeling clean”, the catchy ‘Singing In The Shower’ was a hit in Europe.

Available on the LES RITA MITSOUKO album ‘Marc & Robert’ via Virgin France

http://www.catherineringer.com/

http://allsparks.com/

ELECTRONIC featuring PET SHOP BOYS The Patience Of A Saint (1991)

‘The Patience Of A Saint’ from ELECTRONIC’s debut was undoubtedly the highlight of that album. Featuring the involvement of both PET SHOP BOYS, the witty exchange between Bernard Sumner and Neil Tennant was accompanied by a gorgeous backing track of drum machine, swimmy string synth and minimal guitar. The song was premiered in front of 60,000 people when ELECTRONIC supported DEPECHE MODE at Dodger Stadium in August 1990.

Available on the ELECTRONIC album ‘Electronic’ via Warner Music

http://www.feeleverybeat.co.uk/

http://www.petshopboys.co.uk/

808 STATE featuring IAN McCULLOCH Moses (1993)

Following the departure of founder member Martin Price, ‘Gorgeous’ was 808 STATE’s first album as a three piece. Featuring early mash-up experiments based around UB40, THE JAM and JOY DIVISION, one of the wholly original compositions though was ‘Moses’, a rare electronically backed outing by ECHO & THE BUNNYMEN’s Ian McCulloch. Sounding like NEW ORDER with a Scouse snarl, the unusual but enjoyable partnership was the highlight of the album.

Available on the 808 STATE album ‘Gorgeous’ via ZTT Records

http://www.808state.com/

http://www.bunnymen.com/

ELEKTRIC MUSIC featuring ANDY McCLUSKEY Kissing The Machine (1993)

Recorded for his ELEKTRIC MUSIC project after leaving KRAFTWERK, Karl Bartos’ collaboration with OMD’s Andy McCluskey featured one of his best melodies synth melodies. Bartos said “He suggested we do something together and I was up for it… We picked some cassettes and finally I found the opening notes of ‘Kissing The Machine’”. With fabulously surreal lyrics about a love affair with a sexy robot, it became a cult favourite. OMD resurrected the song in 2013.

Available on the ELEKTRIC MUSIC album ‘Esperanto’ via SPV Records

http://www.karlbartos.com/

http://www.omd.uk.com/

LEFTFIELD LYDON Open Up (1993)

John Lydon had shown himself to be open to collaboration following 1984’s ‘World Destruction’ as TIME ZONE with electro rap pioneer Afrika Bambaataa. But ‘Open Up’ with the then relatively unknown dance duo LEFTFIELD came as something of a surprise. Lydon was suitably angry as he reflected on the tensions of his adopted home with a screaming “Burn Hollywood, burn!” over an intense electronic soundtrack.

Available on the LEFTFIELD album ‘A Final Hit’ via Sony Music

http://www.leftfieldmusic.com/

http://www.johnlydon.com/

DAVID BOWIE featuring PET SHOP BOYS Hallo Spaceboy (1996)

BLUR’s Alex James once remarked that having a PET SHOP BOYS remix was like having your dog being taken for a walk, but then, when it came back, it was a different dog! PET SHOP BOYS certainly re-produced this Bowie/Eno composition from ‘1.Outside’ into a much more commercial proposition, even utilising the cut-up technique to decide which words Neil Tennant would sing. Reaching No12, ‘Hallo Spaceboy’ became Da Dame’s biggest UK hit since ‘Jump They Say’ in 1990!

Available on the DAVID BOWIE album ‘Nothing Has Changed’ via EMI Music

http://www.davidbowie.com/

http://www.petshopboys.co.uk/

THE CHEMICAL BROTHERS featuring BERNARD SUMNER Out Of Control (1999)

‘Out Of Control’ was THE CHEMICAL BROTHERS’ sonic template actually fulfilling its potential within a song based format with Bernard Sumner as the willing conspirator. ‘Out Of Control’ had everything from a bombastic backbeat and cerebral sequences to bizarre lyrics, especially when Sumner resigned that “maybe my moustache is too much…”. The association with Sumner continued when they produced NEW ORDER’s terrific ‘Here To Stay’.

Available on THE CHEMICAL BROTHERS album ‘Singles 93-03’ via Virgin Records

http://www.thechemicalbrothers.com/

http://www.neworder.com

SYSTEM F featuring MARC ALMOND Soul On Soul (2001)

Ferry Corsten had a huge international hit in 1999 with ‘Out Of The Blue’ under his SYSTEM F moniker. It highlighted the spiritual connection between synthpop and trance so to substantiate the link further, the Rotterdam based producer recruited Marc Almond to guest on the blinding ‘Soul On Soul’ for a spirited, club friendly workout. This all tied in nicely with SOFT CELL’s comeback album ‘Cruelty Without Beauty’ in 2002.

Available on the album ‘Out Of The Blue’ via Tsunami Records

http://www.ferrycorsten.com/

http://www.marcalmond.co.uk/

X-PRESS2 featuring DAVID BYRNE Lazy (2002)

The Dumbarton born TALKING HEADS frontman was back in the mainstream limelight for the first time since the band disbanded in 1991 with this superb online collaboration with British DJ duo X-PRESS2. David Byrne gave his best afflicted ‘Psycho Killer’ meets ‘Once In A Lifetime’ warble for what became a No2 UK chart hit. He later reworked ‘Lazy’ with orchestral embellishments for his 2004 solo long player ‘Grown Backwards’.

Available on the X-PRESS2 album ‘Muzikizum’ via Skint Records

http://www.skintentertainment.com/artists/skint/x-press-2

http://davidbyrne.com/

JUNKIE XL featuring DAVE GAHAN Reload (2003)

‘Reload’ was a welcome relief after DEPECHE MODE’s paradoxically titled ‘Exciter’. The brief sojourn with Dutch producer Tom Holkenborg aka JUNKIE XL proved once and for all how well Dave Gahan’s voice worked on uptempo electronic dance tracks. He may be more interested in  MUMFORD & SONS these days, but frankly, over a lively synth laden backbone is where he sounds best. The ‘Radio JXL: A Broadcast from the Computer Hell Cabin’ album also featured Gary Numan!

Available on the JUNKIE XL album ‘Radio JXL: A Broadcast From the Computer Hell Cabin’ via EMI Music

http://www.junkiexl.com/

http://www.davegahan.com

ERASURE featuring CYNDI LAUPER (2007)

Ms Lauper was heading towards a career renaissance with her excellent ‘Bring Ya To The Brink’ album in 2008 so her collaboration with ERASURE in 2007 was quite timely. A soulful slice of Trans-Atlantic synthpop, ‘Early Bird’ was an enjoyable duet between her and Andy Bell that turned out to be the one of the more memorable tracks that emerged from ERASURE’s rather lukewarm ‘Light At The End Of The World’ sessions.

Available on the ERASURE EP ‘Storm Chaser’ via Mute Records

http://www.erasureinfo.com/

http://www.cyndilauper.com

LITTLE BOOTS featuring PHILIP OAKEY Symmetry (2009)

At the time ‘Symmetry’ was unveiled, THE HUMAN LEAGUE had not released any new material since 2001. With a fabulous chorus, this was the nearest thing to a new HUMAN LEAGUE track with Victoria Hesketh doing her best Susanne Sulley impression. So when it was Phil talking, it was magic. “Tell me your dreams and I’ll tell you all my fears” he announced, as they complimented each other in a way that had not really even been heard on a League record before.

Available on the LITTLE BOOTS album ‘Hands’ via 679 Recordings

http://www.littlebootsmusic.co.uk

http://www.thehumanleague.co.uk

MY ROBOT FRIEND featuring ALISON MOYET Waiting (2009)

MY ROBOT FRIEND aka Howard Rigberg created the song ‘We’re The Pet Shop Boys’ in honour of Messrs Tennant and Lowe, who subsequently covered it by way of a reverse compliment. Rigberg went recruited Alison Moyet for her first purely electronic adventure since the YAZOO days on ‘Waiting’. This welcome union with its off-kilter synth sounds alongside her voice no doubt helped ignite her interest in working within the genre again, the result of which was 2013’s ‘the minutes’.

Available on the MY ROBOT FRIEND album ‘Soft-Core’ via Double Feature/Worried Rainbow

http://www.myrobotfriend.com/

http://www.alisonmoyet.com/

PET SHOP BOYS featuring PHILIP OAKEY This Used To Be The Future (2009)

‘This Used To Be The Future’ was a dream trioet that featured Neil Tennant, Philip Oakey and Chris Lowe. With Lowe singing as opposed to just speaking, this triumphant celebration of yesterday’s tomorrow saw Oakey deadpan disappointedly that things didn’t quite turn out how Raymond Baxter predicted on ‘Tomorrow’s World’! He finally resigns himself and at grunts“AMEN!”.

Available on the PET SHOP BOYS album ‘Yes: Further Listening 2008-2010’ via EMI Music

http://www.petshopboys.co.uk/

http://www.thehumanleague.co.uk

RÖYKSOPP featuring ROBYN The Girl & The Robot (2009)

The centrepiece of RÖYKSOPP’s third album ‘The Girl & The Robot’ was perhaps the culmination of Robyn’s steady rise as a truly independent female artist. Despite having gained success in 1997 with the R’n’B tinged ‘Show Me Love’, her superiors at BMG reacted negatively to her new electropop aspirations inspired by THE KNIFE. Frustrated, she bought herself out of her contract and set up her own Konichiwa Records, giving her the freedom to work with whoever she wanted.

Available on the RÖYKSOPP album ‘Junior’ via Wall Of Sound / PIAS

http://royksopp.com/

http://robyn.com/

BLANK & JONES featuring CLAUDIA BRÜCKEN Don’t Stop (2010)

The German dance duo had previously worked with Miss Brücken on ‘Unknown Treasure’, a most gorgeous electrobeat ballad from 2003. ‘Don’t Stop’ was a progression on that but with a wider texture pallet and more abstract electronic overtones. Despite being less song based and having been collaborated on seperately from Blank and Jones, vocally it is classic Claudia with its spoken verse and sexy ice maiden delivery in chorus.

Available on the BLANK & JONES album ‘The Logic Of Pleasure’ via Kontor Records

http://www.blankandjones.info

http://www.claudiabrucken.co.uk

CRYSTAL CASTLES featuring ROBERT SMITH Not In Love (2010)

Re-recorded for single release, Alice Beer took a breather to allow guest Robert Smith from THE CURE to take lead vocals on ‘Not In Love’, a dark but accessible number from CRYSTAL CASTLES’ second album. Smith more than fitted in with the Canadian duo’s aggressive and occasionally chaotic electronic template on this frantic uncovering of a song originally recorded by obscure Toronto new wave combo PLATINUM BLONDE.

Available on the CRYSTAL CASTLES featuring ROBERT SMITH single ‘Not In Love’ via Last Gang/Fiction Records

http://www.crystalcastles.com/

http://www.thecure.com

MOTOR featuring MARTIN L GORE Man Made Machine (2012)

MOTOR’s electro stomper ‘Man Made Machine’ featured vocals by DEPECHE MODE’s Martin Gore in a collaboration which came over a bit like a camp IGGY POP. Gore certainly sounded a touch nervous and uneasy, luring over the duo’s brand of harder edged schaffel techno which only enhanced its appeal. Incidentally, the same titled parent album also featured guests such as GARY NUMAN, BILLIE RAY MARTIN and NITZER EBB’s Douglas J McCarthy.

Available on the MOTOR album ‘Man Made Machine’ via CLR

http://www.wearemotor.com

http://www.martingore.com

FOTONOVELA featuring MIRRORS Our Sorrow (2013)

Not content with producing MARSHEAUX and collaborating with OMD on ‘Helen Of Troy’, Greek duo FOTONOVELA released a more song based second album featuring a number of prominent international vocalists entitled ‘A Ton Of Love’. One of the numbers ‘Our Sorrow’ featured James New from the much missed MIRRORS. In the vein of classic OMD, New’s majestic vocal touching the heartstrings, the wonderful melancholy was perfect, soulful electronic pop.

Available on the FOTONOVELA album ‘A Ton of Love’ via Undo Records

http://www.facebook.com/undofotonovela

http://www.facebook.com/theworldofmirrors

JOHN FOXX & JORI HULKKONEN Evangeline (2013)

Foxx and Hulkkonen had worked together previously on various one-off songs like ‘Dislocated’ and ‘Never Been Here Before’ but had never before attempted a body of work with a conceptual theme. When the two found some collaborative time together, the result was ‘European Splendour’, an EP with a grainier downtempo template than before. The lead track ‘Evangeline’ was full of depth, coupled with an anthemic chorus.

Available on the JOHN FOXX & JORI HULKKONEN EP ‘European Splendour’ via Sugarcane Records

http://www.metamatic.com/

http://www.jorihulkkonen.com

SIN COS TAN featuring CASEY SPOONER Avant Garde (2013)

SIN COS TAN’s Jori Hulkkonen first found fame as part of TIGA & ZYNTHERIUS back in 2001 at the height of the Electroclash movement. ‘Avant Garde’ saw Casey Spooner from the scene’s flag bearers FISCHERSPOONER make a guest appearance on the duo’s second long player ‘Afterlife’. The track itself though was more like THE CURE produced by PET SHOP BOYS with Spooner providing a suitably cynical snarl to contrast Juho Paalosmaa’s impassioned lost boy cry.

Available on the SIN COS TAN album ‘Afterlife’ via Solina Records

http://sincostan.net/

http://www.fischerspooner.com

iEUROPEAN featuring WOLFGANG FLÜR Activity Of Sound (2014)

Although Wolfgang Flür’s last full album project was as YAMO with ‘Time Pie’ back in 1997, there was this marvellous electronic number entitled ‘Activity Of Sound’, recorded in collaboration with iEUROPEAN. The project of Dublin based artist Sean Barron, the additional female monologue  was provided by Barron’s wife, Izabella. The track sees Herr Flür quoting an archive interview with the late avant garde composer John Cage to a soundtrack of hypnotic synthetic bliss.

Available on the iEUROPEAN featuring WOLFGANG FLÜR download single ‘Activity Of Sound’ via Subculture Records

https://www.facebook.com/pages/iEuropean/149564838461817

http://www.musiksoldat.de

Text by Chi Ming Lai
25th May 2015

PAUL HARTNOLL 8:58

6 April 2015 /

8:58 is the newly christened name for the side project of ORBITAL’s Paul Hartnoll.

There are definitive threads running through this album which inevitably hark back to ORBITAL, the chronological theme of the title track and ‘The Clock’ recall the ‘Planet of Shapes’ from ‘The Brown Album’ which featured the “Even a stopped clock tells the right time twice a day” sample from ‘Withnail and I’.

The album opener and title track features ‘Star Trek Into Darkness’ and ‘Peaky Blinders’ star Cillian Murphy intoning about how throughout our lives, we are slaves to the unstoppable ticking of time and the clock.

Murphy linked up with Hartnoll when the latter was commissioned to create the soundtrack for the BBC Gangland-based TV series along with PJ Harvey and the legendary Flood (who handles mixing duties here too). Murphy also appears in the accompanying promo video which features a ‘Mr. Benn’ shopkeeper-style cameo from Paul Hartnoll himself.

‘8:58’ itself starts off in pretty slow-burning and down-tempo fashion with vocal and bell textured synths, before the track ramps up significantly towards the end with bitcrushed drums bringing the piece to a more dramatic and heightened conclusion.

Up next is ‘Please’ which features more guests in the form of Robert Smith from THE CURE and Lianne Hall – in case you are getting a sense of de ja vu here, then you would be right, as the track originally appeared on Paul Hartnoll’s solo offering ‘The Ideal Condition’.

This time around though, the original version’s ‘Satellite Of Love’ chord progression has been given a supercharged dance-oriented / square wave bass production, featuring a stabbed synth break and portamento lead riff which couldn’t be more ORBITAL-esque if they tried… interestingly, the original 2007 mix of this song is conspicuously absent from YouTube, but a few remixes exist should you wish to make a comparison, or head over to Spotify to have a listen!

‘The Past Now’ is a far more original sounding proposition, guest folk vocalist Lisa Knapp’s heavily reverbed vocals sounding gorgeous against an initially ambient wash before the track builds over a FAD GADGET style rhythm track. The song builds dynamically throughout with more contemporary sounding eight beat stabbed chords – the lush sound of this track is a definite highlight here, the vocal textures recalling the wonderful Liz Fraser in places.

unthanksHartnoll is a self-confessed folk fanatic and again dips into vocalists from this genre by featuring THE UNTHANKS on a version of THE CURE’s classic ‘A Forest’. But he resists the temptation to up its tempo, going for a more funereal and understated feel instead.

The familiar intro and outro guitars are re-imagined on synths and the whole approach even outdoes the original atmosphere of the track to take it to a far darker place altogether.

The left and right panning on Rachel and Becky Unthanks’ vocals help to give the interpretation of the song a more claustrophobic / intimate feel throughout, yet complementing the electronic sheen of the production.

Purely instrumental tracks ‘Broken Up’ and ‘Nearly There’ help bring the album towards a close, the latter being the most up tempo and 4/4 oriented track on the album, a frenetic almost early psy-trance feel to the sequencing.

Final track on ‘8:58’ is the haunting ‘Cemetery’, again another vocal-led piece with lyrics from the 18 year old Holly AKA ‘Fable’. Vocal cut-ups and a mix of 4/4 and breakbeat drums recall ORBITAL again without being an out-and-out pastiche. Staccato percussive KRAFTWERK synths echo around the stereo field and another heavily reverbed vocal leads into a melancholic but euphoric chord progression as the track rounds off the album perfectly. The main vocal hook on the song is “We are made of symmetry”, but a play on words gives the song its conclusive final title.

Overall, the clean synthetic production and sound of ‘8:58’ is superb with Flood being the perfect choice to handle the mixdown.

The album certainly holds its own against the last ORBITAL product ‘Wonky’, but with the cancellation of the recently scheduled 8:58 tour, there surely must have been have been a few regrets that this didn’t become a full-on collaboration with brother Phil – this certainly would have guaranteed a higher profile and potentially higher tickets sales.

On the flipside, Paul Hartnoll should still be given credit for putting his all into this work, one which shares a perfect sonic space and parallels with the recent SUSANNE SUNDFØR release, which in places has a similar sound. Will the eventual outcome of this album lead to another ORBITAL reformation? Only time will tell…

‘8:58’ is released by ACP Recordings and available now in CD, 2CD, download, deluxe download and double vinyl formats via the usual retailers

http://www.eightfiftyeight.com/

https://www.facebook.com/eightfiftyeightmusic

http://www.pledgemusic.com/projects/eightfiftyeight

Text by Paul Boddy
6th April 2015

MACHINISTA Xenoglossy

29 April 2014 /

Sweden’s MACHINISTA’s debut album ‘Xenoglossy’ delivers on the promise the duo have already shown with their first EP ‘Arizona Lights’ and appearance at ‘An Evening With The Swedish Synth’ earlier this year.

While the pairing of John Lindqwister (ex-CAT RAPES DOG) and Richard Flow (ex-VISION TALK) have a rock’n’roll edge with in particular, Lindqwister’s fly-kicks and sub-Idol sneers a key part of their energetic stage act, MACHINISTA are synthpop with a capital ‘S’. Like THE CURE gone electronic, or ALPHAVILLE crossed with SUICIDE, ‘Xenoglossy’ is both catchy and danceable.

The ‘Arizona Lights’ EP acted as a fine taster before this main course and while three of its four original songs also appear on ‘Xenoglossy’, the eight new songs have much to offer. ‘Take Comfort In Being Sad’ is a great opener that sets the tone for the album.

The standard is highly consistent with the marvellously uptempo trio of ‘Arizona Lights’, ‘Molecules and Carbon’ and ‘Salvation’ combining the best elements of both ALPHAVILLE and THE CURE into an enjoyably well produced template of anthemic electro. One key highlight is the brilliant ‘Wasted’, a boy / girl duet featuring Toril Lindqvist of ALICE IN VIDEOLAND that combines the best of darkwave and Scandipop.

Despite this being pop music, this is not fluffy stuff. The haunting ‘Love And Hate Song’ for example takes on the spectre of THE CURE’s ‘Love Song’ under the guise of KRAFTWERK but steered by The Brothers Grimm. Then, there’s ‘The Blues And The Reds’ which exposes some ghostly overtones.

But best of all is the schaffel propelled ‘Pushing The Angels Astray’, supreme synthpop that discusses the spectre of immortality with a marvellous melodic line and fabulous chorus. Once again, the Nordic region is showing how electronic music is done and many could do a lot worse than to observe how MACHINISTA go about their craft.

‘Xenoglossy’ is not all uptempo and in-yer-face either; ‘Crash’ takes the pace down while ‘Summersault’ is a superb electronic Brechtian drama that could soundtrack a modern day adaptation of ‘Baal’. Of course David Bowie played the title role in ‘Baal’ for the BBC’s 1982 dramatisation and MACHINISTA’s cover of ‘Heroes’ will have tongues wagging.

Recorded originally as the duo’s calling card when they first formed, the synth pads recall those used on FURNITURE’s ‘Brilliant Mind’ while the electronic pulses combined with assorted textures amalgamate with Lindqwister’s spirited vocal for a respectable and yes, good reinterpretation to close the album.

In all, MACHINISTA’s ‘Xenoglossy’ is certainly a very impressive collection and could stand up as one of the best electronic debut albums of 2014. It’s funny to think after the outstanding nature of 2013, ELECTRICITYCLUB.CO.UK thought it was going to have a quiet year!

‘Xenoglossy’ is released on 20th May 2014

http://www.machinistamusic.com/

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Text by Chi Ming Lai
29th April 2014

Lost Albums: RACHEL STEVENS Come & Get It

24 February 2011 /


Released in October 2005 and boasting four Top 12 singles, the former SClubber’s vastly underrated electro-oriented album ‘Come & Get It’ peaked at No 28 in the UK which in manufactured pop terms, was deemed a total disaster.

Initially at the time, Rachel Stevens’ success seemed to be guaranteed; she was regularly in the media spotlight and also a popular lads mag pin-up.

So her second album, assembled by a team of top writers and producers including Richard X, Hannah Robinson, Xenomania, Pascal Gabriel, Paul Statham and Rob Davis (who co-wrote Kylie Minogue’s ‘Can’t Get You Out Of My Head’) seemed a surefire way of cementing it.

But one thing a pretty face never guarantees is sales. Lads mag readers generally don’t buy music unless it is of the Mancunian monobrow rock variety while the G-A-Y audience are suspicious of any prospective pop divas who maybe have just had life a little bit too easy… Stevens’ middle class drama school roots probably reinforced that!

And generally, young women prefer boy bands and just don’t buy the records of other females if the artist is aesthetically more pleasing than themselves! The writers and producers, all experienced hands, probably foresaw that Stevens’ pop career was likely to flop so used their contributions to the album as an excuse to experiment and have fun. The end result is a collection of pop songs bursting with inventive, fun and risqué ideas.

The album’s launch single ‘I Said Never Again (But Here We Are)’ is a Rob Davis penned glam stomper with a touch of ‘Antmusic’. The provocative lyrics certainly wouldn’t have been allowed on CBBC: “I feel such a traitor – oh, I let you in my back door… rough love’s so deceiving – I said never again but here we are!” All highly amusing if you appreciate the saucier pleasures in life! Rob Davis also pays tribute to his MUD roots with his other offering, reprising that schaffel beat on UK bonus track ‘Every Little Thing’.

Richard X’s GOLDFRAPP-lite production on ‘Some Girls’ has Stevens playing a wannabe who ends up on pop’s casting couch: “Some girls always get what they wanna – all I seem to get is the other – this won’t last for long not forever – the champagne makes it taste so much better!”…

Co-written by X with Hannah Robinson apparently in response to having one of his GOLDFRAPP remixes rejected and based on some real music industry anecdotes, it was ‘Some Girls’ that first put the icy glam electro sound into the mainstream consciousness, so much so that many thought ‘Ooh La La’ was actually the follow-up to ‘Some Girls’, much to fury of Alison Goldfrapp! “I AM NOT RACHEL STEVENS!” she exclaimed!

The Richard X led ‘Crazy Boys’ is another Frapper’s delight featuring timpani coloured 6/8 time signatures and atmospheric electronics that recall Jean Michel Jarre’s ‘Oxygene Part II’… it could be BLACK BOX RECORDER with a Gallic twist although on ‘Je M’Appelle’, Ms Stevens actually gives the French language a go with an ‘Allo ‘Allo accent! Despite this, it does recall the comedic charm of SPARKS’ ‘Je M’Appelle Russell’!

‘So Good’ is brilliantly bouncy and tastefully engaged electro produced by Pascal Gabriel; and yes, it does sound like LADYHAWKE without the guitars. Meanwhile with his erstwhile partner Paul Statham from B-MOVIE, their heavenly co-write ‘I Will Be There’ features the sort of pulsing sequencers that drove NEW ORDER’s dancefloor exploits.

Post-punk influences continue in abundance with a sample from THE CURE’s ‘Lullaby’ forming the basis of ‘It’s All About Me’. A slice of wispy electro-soul a la Chaka Khan’s ‘Ain’t Nobody’ comes in the shape of ‘Secret Garden’ while ‘Negotiate With Love’ is squelchy Scandinavian synthpop with added Simmons drum sounds. These two have hints of both Annie and Robyn. Xenomania chip in the lovely mid-paced ‘Nothing Good About This Goodbye’ but it is their main event closer ‘Funny How’ that shines brightest.

Apparently co-written by Stevens with the hit factory who later worked with PET SHOP BOYS, this is a perfect Princess Stephanie Eurodisco record in the vein of ‘I’m Not Scared’. The best track on the collection, ‘Funny How’ should have been covered by GIRLS ALOUD and turned into a massive hit.

The gorgeous synthpop gems ‘Love Is Pain’ and ‘Turn to Stone’ from Cole and co’s most recent album ‘Out of Control’ take their template from here.

‘Come And Get It’ is a superb album that can be appreciated on an intellectual level as well as a throwaway pop experience. Whether Miss Stevens is actually really singing is a moot point as each of the lead vocals on the album appear to be different; it could be any pretty poppet!

Rachel Stevens is the girl you should fancy but actually don’t! Is her look too flawless? Is it because she always appears too pleased with herself? It is rumoured THE STREETS’ ‘Fit But You Know It’ is actually about her! This aura may have actually hampered the potential of this album. Whatever, the craft and quality danceable electro on ‘Come & Get It’ delivered on the path paved by GOLDFRAPP and predicted what was to come with LADYHAWKE, LITTLE BOOTS and LA ROUX.

In its post-release reappraisal, All Music Guide said it was “a collection of thoroughly excellent electronic dance-pop songs” and “the definitive album of 2000s UK chart pop”. The Guardian placed it in their ‘1000 Albums You Must Hear Before You Die’ list. And LITTLE BOOTS later acknowledged ‘Come & Get It’ as an influence on her hit album ‘Hands’. Like it or not, ‘Come & Get It’ really was forward thinking pop music!

‘Come & Get It’ is still available as a CD or download via Polydor Records

https://www.rachelstevens.com/

https://twitter.com/MsRachelStevens

https://www.instagram.com/msrachelstevens/

Text by Chi Ming Lai
24th February 2011, updated 8th January 2017

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