Tag: Ultravox (Page 13 of 16)

25 SYNTH INSTRUMENTALS OF THE CLASSIC ERA

13 August 2013 /

1972’s ‘Popcorn’ could arguably be seen as Europe’s first electronic pop hit.

Made famous by HOT BUTTER, they were actually a combo of session players led by Stan Free who had been a member of FIRST MOOG QUARTET with ‘Popcorn’ composer Gershon Kingsley. It was largely considered a novelty record but it inspired many cover versions throughout the world including France where it was a No1.

There, one came courtesy of a young musician named Jean-Michel Jarre who recorded ‘Popcorn’ under the moniker of THE POPCORN ORCHESTRA. While working on his first proper full length electronic album in 1976, Jarre adapted a melodic phrase from ‘Popcorn’ as the main theme of what was to become the project’s lead single. That composition was ‘Oxygène IV’ and the rest is history.

After ‘Oxygène IV’ became a Top 5 hit in the Autumn of 1977, the synth instrumental became a popular medium, even spawning budget covers albums such as ‘Synthesizer Hits’ and ‘Synthesizer Gold’.

But coinciding with accessibility of affordable synthesizers, instrumentals were seen by some as a cop out for a B-side or album filler. A bridge between pop and experimentation, these tracks were actually an artform of their own and many would become cult favourites among enthusiasts who understood that music did not necessarily need words to convey an emotive atmosphere or make people dance.

However today, it does appear to be a dying art with some musicians not understanding that formless noodling, club racketfests or tracks in which the vocalist appears to have forgotten to sing don’t quite cut it. So here are twenty five other instrumentals from the classic era when the synth went mainstream and discerning listeners looked forward to an imaginative wordless wonder.

This chronological by year, then alphabetical list however has a restriction of one track per artist and features no tracks that use a repeated vocal phrase as a topline, thus excluding most recordings by KRAFTWERK! And if you’re wondering where GIORGIO MORODER is, his work was covered recently in his own Beginner’s Guide to him…

NEU! Isi (1975)

By 1975, NEU! had broken into two artistic factions with Michael Rother and Klaus Dinger unable to agree a direction for their new album. So they divided its space with the manic Dinger piloting his rambling proto-punk of side two and the more sedate and thoughtful Rother directing the less jarring first side. ‘Isi’ was a wonderful synthesizer and piano instrumental that was still driven by a motorik beat but less dominantly Apache.

Available on the album ‘Neu! 75’ via Gronland Records

http://www.neu2010.com/

KRAFTWERK Franz Schubert (1977)

TEE-7inchEffectively the closing track on KRAFTWERK’s iconic ‘Trans Europe Express’ album, this neo-classical piece was eerily emotive with its combination of Vako Orchestron string ensemble over some gentle Synthanorma Sequenzer pulsing. The haunting elegance of ‘Franz Schubert’ was like Ralf Hütter had been possessed by the ghost of the great German composer, reflecting the art of his melodic and harmonic intuition.

Available on the album ‘Trans Europe Express’ on EMI Records

http://www.kraftwerk.com/

SPACE Magic Fly (1977)

SPACE was the brainchild of Didier Marouani who went under the pseudonym Ecama and formed the collective with Roland Romanelli, and Jannick Top. With compatriot Jean-Michel Jarre and a certain Giorgio Moroder also in the charts, the space disco of the iconic ‘Magic Fly’ heralded the start of a new European electronic sound within the mainstream. With its catchy melody and lush, accessible futurism, ‘Magic Fly’ sold millions all over the world.

Available on the album ‘Magic Fly’ via Virgin France

http://fr.space.tm.fr/

JAPAN The Tenant (1978)

Inspired by the grim Roman Polanski film, ‘The Tenant’ signalled the Lewisham combo’s move away from funk rock into artier climes. A merging of the second side of David Bowie’s ‘Low’ with classical composer Erik Satie, it saw Richard Barbieri play more with synthesizer and piano textures to create atmosphere while Mick Karn dressed the piece with his fretless bass rather than driving it. Karn’s burst of self-taught sax at the conclusion is also quite unsettling.

Available on the album ‘Obscure Alternatives’ via Sony BMG Records

http://www.nightporter.co.uk/

GARY NUMAN Airlane (1979)

For anyone who first became a fan of electronic pop during the Synth Britannia era, ‘Airlane’ was a key moment. As the opening track of ‘The Pleasure Principle’ and its subsequent concert tour, it was the calling card that literally announced “GARY NUMAN IS IN THE BUILDING”! Yes, Numan had done instrumentals before, but with its sparkling Polymoog riffs, ‘Airlane’ provoked excitement and anticipation.

Available on the album ‘The Pleasure Principle’ via Beggars Banquet

http://www.numan.co.uk/

YELLOW MAGIC ORCHESTRA Rydeen (1979)

With their eponymous debut under their belt, YELLOW MAGIC ORCHESTRA fully found their technopop sound on ‘Solid State Survivor’. Written by drummer Yukihiro Takahashi, ‘Rydeen’ was a percussively colourful pentatonic tune filled with optimism and flair. This was the trio at their best as the later ‘Technodelic’ was a quite doomy, while their swansong ‘Naughty Boys’ was overtly mainstream.

Available on the album ‘Solid State Survivor’ via Sony Music

http://www.ymo.org/

JOHN FOXX Mr No (1980)

Armed with an ARP Odyssey, Elka string machine and Roland Compurhythm, John Foxx’s ‘Mr No’ was like a futuristic Bond theme or a signature tune for some space gangster. The mechanical giro was menacingly snake-like while the swirling chill invaded the speakers to prompt some almost funky robot dancing. The ‘Metamatic’ era track originally surfaced on the ‘No-One Driving’ double single pack with aother instrumental, the more sedate ‘Gilmmer’.

Available on the album ‘Metamatic’ via Edsel Records

http://www.metamatic.com/

THE HUMAN LEAGUE Gordon’s Gin (1980)

Written by Jeff Wayne for a cinema advert, THE HUMAN LEAGUE’s cover of ‘Gordon’s Gin’ kicks in like an commercial for Moloko Plus being sold at the Korova Milk Bar. Glorious and euphoric with futuristic sounds that weighed more than Saturn, Martyn Ware and Ian Craig Marsh left the band shortly after to form a project named after an imaginary group from a scene in ‘A Clockwork Orange’ discussed by anti-hero Alex with a couple of devotchkas at the disc-bootick!

Available on the album ‘Travelogue’ via Virgin/EMI Records

http://martynwareblog.blogspot.co.uk/

ULTRAVOX Astradyne (1980)

Of ‘Astradyne’, Billy Currie said: “Midge started with that strong melody, Chris’ bass was also a very strong feature. I played a piano counter melody behind. The track was so strong that we felt at ease to lengthen it with a long textural piano bit that is sort of bell-like with the metronomic bass drum beats and the violin tremolo solo… Midge came up with that final section lift taking it out of the long ARP solo. I double it! It is a very good strong keyboard part. It is very celebratory at the end…”

Available on the album ‘Vienna’ via Chrysalis/EMI Records

http://www.ultravox.org.uk/

DEPECHE MODE Big Muff (1981)

One of two Martin Gore compositions on the Vince Clarke dominated DEPECHE MODE debut ‘Speak & Spell’, ‘Big Muff’ was a fabulous highlight on the album’s more superior second side. Highly danceable and enjoyably riff laden, this futuristic romp was named after an effects pedal made by Electro-Harmonix who later branched into portable synths. It allowed many a synth obsessed teenager to declare “I like big muff” without embarrassment!

Available on the album ‘Speak & Spell’ via Mute Records

http://www.depechemode.com/

SIMPLE MINDS Theme For Great Cities (1981)

Even with the advent of the free download era, ‘Theme for Great Cities’ is one of the greatest freebies of all time having initially been part of ‘Sister Feelings Call’, a 7-track EP given gratis to early purchasers of SIMPLE MINDS’ fourth album ‘Sons & Fascination’. Starting with some haunting vox humana before a combination of CAN and TANGERINE DREAM takes hold, the rhythm section covered in dub echo drives what is possibly one of the greatest instrumental signatures ever!

Available on the album ‘Sons & Fascination/Sister Feelings Call’ via Virgin/EMI Records

http://www.simpleminds.com

VISAGE Frequency 7 – Dance Mix (1981)

Not actually written as an instrumental, the original was the B-side of VISAGE’s first single ‘Tar’ and much faster paced, featuring Steve Strange rambling about not very much. For its dance mix, ‘Frequency 7’ was slowed down and Strange’s vocal removed. The result was a masterclass in Barry Adamson’s bass counterpointing with Billy Currie’s ARP Odyssey bursts of screaming aggression and Rusty Egan’s metronomic electronic beats for a creepy robotic aesthetic.

Available on the album ‘The Anvil’ via Cherry Red

http://www.visage.cc/

BLANCMANGE Sad Day (1982)

There are two versions of this cult classic; a mutant countrified ambient piece based around the bassline of Brian Eno’s ‘The Fat Lady Of Limbourg’ from the ‘Some Bizzare Album’ and the lively Mike Oldfield inspired album version from ‘Happy Families’. Each has its merits but the percussively jaunty re-recording just wins over with its synthesized wallows, chiming guitars and crashing Simmons drums.

Available on the album ‘Happy Families’ via Edsel Records

http://www.blancmange.co.uk/

DRAMATIS Pomp & Stompandstamp (1982)

The hypnotic B-side to ‘Face on The Wall’ showcased the fusion of the classical, rock and prog elements that were the core talents of Chris Payne, RRussell Bell and CedSharpley who had been the mainstay of the first GARY NUMAN backing band. Not a cover of Edward Elgar’s near-namesake composition ‘Pomp & Circumstance’ , DRAMATIS‘ rousing number would however make a perfect closer for the Last Night Of The Proms in the 22nd Century!

Available on the album ‘For Future Reference’ via Cherry Red Records

http://www.numanme.co.uk/numanme/Dramatis.htm

A FLOCK OF SEAGULLS DNA (1982)

Technically, ‘DNA’ is not a really synth instrumental with the hook line being far too guitar oriented. However, it had a key role breaking down barriers for music with a more futuristic bent in synthobic America and snatched a 1983 Grammy Award for Best Rock Instrumental Performance. And for that, ‘DNA’ deserves kudos! A FLOCK OF SEAGULLS‘ cultural impact can be measured by leader Mike Score’s iconic hair style being lampooned in ‘The Wedding Singer’ and ‘Friends’.

Available on the album ‘A Flock Of Seagulls’ via Cherry Pop

https://www.facebook.com/MikeScoreOfficial/

SOFT CELL ….So (1982)

A solo Dave Ball composition that was on the B-side of ‘What?’, the tall, pensive synthesist created an electronic disco number while Marc Almond was off doing the first MARC & THE MAMBAS’ album that would have done GIORGIO MORODER proud. Reminiscent of the Italian producer’s ‘Chase’, ‘….So’ featured wonderful percolating synths over a fabulously danceable groove and a solid metronomic beat that required no additional vocal histrionics or energetics.

Available on the album ‘Non-Stop Erotic Cabaret’ via Mercury Records

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

CARE On A White Cloud (1983)

CARE was a short lived project comprising of soon-to-be main man of THE LIGHTNING SEEDS Ian Broudie and THE WILD SWANS’ vocalist Paul Simpson. Combining acoustic strums with synthesizer melodies, CARE had promise but imploded due to musical differences. ‘On A With Cloud’ was an epic instrumental with thundering percussion, castenets, ringing guitar and heavenly synthetic layers that appeared the 12 inch B-side of the duo’s best 45 ‘Flaming Sword’.

Originally released on the 12 inch single ‘Flaming Sword’ via Arista Records, currently unavailable

http://stevomusicman.wordpress.com/2011/11/10/care/

CHINA CRISIS Dockland (1983)

CHINA CRISIS recorded a variety of instrumental sketches and the results were often superb. But as the duo of Gary Daly and Eddie Lundon only had a couple of hits, most of this material was little heard having been tucked away on B-sides. ‘Dockland’ is a prime example having been the flip of the flop single ‘Working With Fire & Steel’. The sublime nautical transience inspired by Liverpool’s once vibrant docks lying wasted in a period of high unemployment was captivating.

Available on the album ‘Collection: The Very Best of China Crisis’ 2CD edition via Virgin Records

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

DURAN DURAN Tiger Tiger (1983)

‘Tiger Tiger’ is the best JAPAN instrumental that Sylvian and Co never recorded plus some would consider any DURAN DURAN track without a Simon Le Bon vocal to be a bonus. That aside, John Taylor and Nick Rhodes had more artier aspirations so indulged on this musical tribute to the William Blake poem. Taylor does a superb Mick Karn impersonation on fretless bass while Rhodes adds a great synth melody to proceedings.

Available on the album ‘Seven & The Ragged Tiger’ via EMI Records

http://www.duranduran.com/

THE ASSEMBLY Stop/Start (1984)

Strangely enough, Vince Clarke is not really known for his instrumentals. Co-composed with  Eric Radcliffe, ‘Stop/Start’ was effectively Clarke’s first instrumental as DEPECHE MODE’s ‘Any Second Now’ had a ‘(Voices)’ variant while YAZOO’s ‘Chinese Detectives’ was only played live. A Casiotone infused ditty with Linn drums and a cute melody, ‘Stop/Start’ was the B-side to THE ASSEMBLY’s only single ‘Never Never’.

Available on the boxed set ‘Mute: Audio Documents’ via Mute Records

http://www.vinceclarkemusic.com/

HOWARD JONES Tao Te Ching (1984)

Throwing off his mental chains, Mr Jones took inspiration from his own Buddhist spirituality and the overtures of Vangelis’ 1979 album ‘China’ for this rather beautiful piece which used to open his early shows. Using pentatonic melodies and sweeping chords on ‘Tao Te Ching’ in the style of Tomita and Kitaro, it’s a shame that this aspect of Jones’ quite obvious musical capabilities has never really been explored.

Available on the album ‘The Very Best Of Howard Jones’ via Warner Music

http://www.howardjones.com/

OMD Junk Culture (1984)

Inspired by a ‘Blade Runner’ sample, ‘Junk Culture’ was a reggae-ish number set to a bizarre time signature and signalled OMD’s move away from Germanic electronica. Still experimenting, only this time with more World Music forms thanks to the advent of sampling technology, the detuned Tijuana brass, deep dub bass and schizo voice snippets recalled the work of Jah Wobble, Holger Czukay and Jaki Liebezeit.

Available on the album ‘Junk Culture’ via Virgin Records

http://www.omd.uk.com

TEARS FOR FEARS Pharaohs (1985)

‘The Marauders’ and ‘Empire Building’ showed TEARS FOR FEARS were adept at instrumentals and their best was ‘Pharaohs’, the B-side of ‘Everybody Wants To Rule The World’. Launched with a crunchy 6/8 heartbeat, the sedate piano motif and drifting synths gave a distinctly nautical feel, enhanced by sound bites from the BBC shipping forecast. But out of nowhere, the middle eight Emulator voice theme from the A-side introduces its partnering chordial guitar solo!

Available on the album ‘Songs From The Big Chair’ 2CD deluxe edition

http://tearsforfears.com/

NEW ORDER Best & Marsh (1989)

This theme was composed in 1988 for the eight part Granada TV series hosted by Factory Records’ supremo Tony Wilson and featured two of Manchester’s most iconic club footballers, George Best and Rodney Marsh. With a great string synth melody, Hooky bass, clubby beats and Italo piano stabs, this prompted the FA to commision NEW ORDER to write ‘World In Motion’ for the 1990 World Cup, while the series allowed ‘Best & Marsh’ to embark on a popular speaking tour.

Available on the album ‘Technique’ 2CD Deluxe edition via London Records

http://www.neworder.com/

VANGELIS End Titles From Blade Runner (1989)

Dramatic, tense and melodic, Vangelis’ closing theme to the acclaimed 1982 Ridley Scott directed Sci-Fi movie ‘Blade Runner’ succeeded in orchestrating a score using just synths and samples to maintain the futuristic unsettlement of the story. However, the glorious track was not actually released until 1989 on the ‘Themes’ compilation, while an actual soundtrack album didn’t actually see the light of day until 1994.

Available on the album ‘Blade Runner’ via Warner Music

http://www.vangelisworld.com/

Text by Chi Ming Lai
13th August 2013, updated 29th December 2022

Rhapsody and Exponentialism… The Art of JOHN FOXX Reinterpreted

14 May 2013 /

John Foxx has been highly prolific of late and this month sees the release of two tasteful artefacts which has the electronic pioneer revisiting his past while continuing to look forward simultaneously.

Both also showcase the platform he has given in particular to rising female musicians within a synth scene so notoriously noted in the past for its boys with their toys stance. But now, the girls are allowed to play with those toys too!

The first of these is ‘Rhapsody’, 10 tracks recorded live at London’s MemeTune Studios in late 2011 shortly after the JOHN FOXX & THE MATHS ‘Interplay’ tour. This series of shows was noted in particular for the addition of Hannah Peel’s screeching electric violin on material from Foxx’s ‘Metamatic’ and early ULTRAVOX! phases.

Featuring also Serafina Steer on bass and synths plus Foxx’s Mathematical sidekick Benge on electronic percussion and synths, the wide scope of the material is given a thematic core by this highly competent quartet, each bringing in their individual skills for a sum greater than its parts.

Foxx’s collaborations with Louis Gordon may have revitalised his musical aspirations, but what the Benge partnership did was provide a depth of humanity which perhaps had not shown itself in Foxx’s work since his ULTRAVOX! days. The addition of younger players such as Peel and Steer plus vital, energetic new material such as ‘Catwalk’ contributed to what was possibly Foxx’s best ever live show, not a bad achievement considering the former Dennis Leigh is now in his fourth decade in the music industry.

Like Foxx’s recording of ‘The Omnidelic Exotour’ from 1997, ‘Rhapsody’ is a closed set live recording with no audience. The beautiful instrumental take of ‘The Good Shadow’ with its pulsing sequences and eerie violin will have some recalling the intro of Gary Numan’s ‘Cry The Clock Said’.

Meanwhile the reworking of ‘Hiroshima Mon Amour’ retains the serene quality of the original with elements such as the sax are replaced by synth and Benge compliments percussively with Simmons thuds. The highlights though inevitably are ‘The Shadow Of His Former Self’, ‘Just For A Moment’ and ‘He’s A Liquid’ where the violin of Hannah Peel wails to an enjoyable pitch bent frenzy!

Of course, a lot ‘Metamatic’ era material actually featured bass guitar so Steer’s fluid four string, while not quite putting the funk into proceedings, gives a closer representation of the period’s mechanised groove on songs like ‘Burning Car’. Peel and Steer’s elements combined with Benge’s synthetic drums interestingly beg the thought of how ULTRAVOX might have sounded had Messrs Foxx, Currie, Cross, Cann and Simon stayed together to record ‘Metamatic’? ‘Rhapsody’ is a great souvenir of the ‘Interplay’ tour although it could have done with being slightly longer; ‘Plaza’ and ‘Watching A Bulding On Fire’ would have been worthy inclusions but it’s probably best to have the audience wanting more.

Meanwhile, on the ‘Exponentialism’ EP, two songstresses, who have supported JOHN FOXX & THE MATHS’ live shows and contributed to latest album ‘Evidence’, are given an opportunity to glow in the darkness as I SPEAK MACHINE and GAZELLE TWIN premiere their vivid interpretations of Foxx’s back catalogue. Both hit soprano ranges in their vocal capability and that automatically allows them to put their own stamp on some iconic work. GAZELLE TWIN told ELECTRICITYCLUB.CO.UK in 2012: “I prefer covering songs written or sung by men. Perhaps because it instantly allows me to create a new perspective on it.”

So with I SPEAK MACHINE, the new electronic vehicle for American musician Tara Busch, she assumes the role of predatory female and her aggressive take on ‘My Sex’ is the complete opposite to Foxx’s original detached tone of resignation. Unsettling and eerie, the new arrangement is tremendous. Meanwhile, ‘I Want To Be Machine’ is virtually rewritten by Busch with the Ballardian lyrics now accompanied by abstract synthetics and robotics that are well away from the early Bowie-esque folkisms of the ‘Ultravox!’ album’s longest track. It’s as if the roles in ‘Demon Seed’ have been reversed!

Hauntingly sedate, GAZELLE TWIN, the alias of Brighton based Elizabeth Walling, gives a stripped down rendition of ‘Never Let Me Go’ with a neo-acappella intro before it oozes into a collage of choral beauty reminiscent of Foxx’ own ‘Cathedral Oceans’ trilogy. Appropriately sounding like she’s drowning, GAZELLE TWIN’s choice of ‘He’s A Liquid’ as her second cover reflects the metaphysical fascinations of her own compositions like ‘I Am Shell I Am Bone’ and ‘I Turn My Arm’. Sung from the female perspective, it highlights an ambiguous sexual angle to one of the highlights from ‘Metamatic’.

There was once an ‘In The City’ fanzine special about the Foxx-led ULTRAVOX! entitled ‘Past, Present and Future’. Both ‘Rhapsody’ and ‘Exponentialism’ show that more than 30 years after that publication, JOHN FOXX still very much represents the past, present and future of independently minded electronic music.

‘Rhapsody’ and ‘Exponentialism’ are released by Metamatic Records and both available as CDs or downloads from http://johnfoxx.tmstor.es/

JOHN FOXX & THE MATHS play a headline show at Brighton’s Concorde 2 on 7th June 2013 with support from VILE ELECTRODES

http://www.johnfoxxandthemaths.com/

http://www.metamatic.com/

http://myblogitsfullofstars.blogspot.co.uk/

http://www.hannahpeel.com/

http://www.serafinasteer.com/

http://analogsuicide.com/

http://www.gazelletwin.com/

Text by Chi Ming Lai
14th May 2013

2012 END OF YEAR REVIEW

16 December 2012 /

Close Encounters Of The Synth Kind

The year began with the housewives’ favourite astronomer Brian Cox naming several synth friendly classics like OMD’s ‘Messages’ and DURAN DURAN’s ‘Friends Of Mine’ in his choices for ‘Desert Island Discs’ as well as declaring an appreciation of ULTRAVOX.

The confessions of the one-time keyboard player of DARE and D:REAM proved once again that electronic music is the preserve of the intelligent, discerning listener. And as with the strap line to ‘Close Encounters Of The Third Kind’ which featured the use of an ARP 2500 to communicate with the aliens incidentally!), it proved to many a synth enthusiast that “we are not alone”!

Speaking of ULTRAVOX, they made the comeback of the year with ‘Brilliant’, the first long player featuring the classic line-up of Warren Cann, Chris Cross, Billy Currie and Midge Ure since 1984’s ‘Lament’. While the album could have probably done with being two tracks shorter, it was the best of the bunch in a line of returns from the last few years by Synth Britannia veterans OMD, BLANCMANGE and THE HUMAN LEAGUE; not bad considering most of the band are now in their early sixties! The Dreaded Pink Thing has now been truly buried!

Gary Numan continued to tour like there was no tomorrow and reunited with his old backing band DRAMATIS on several of his ‘Machine Music’ shows in tribute to the late Ced Sharpley who had drummed for both. From the same management stable, JOHN FOXX & THE MATHS unleashed their third album in 18 months entitled ‘Evidence’ while Claudia Brücken released only her second solo album in just over 20 years with a soothing collection of reinterpretations called ‘The Lost Are Found’.

With only Synth-Werk plug-in hoaxes and Belgian clones METROLAND to keep Klingklangers entertained with new material, KRAFTWERK themselves undertook a 3D residency at New York’s MoMA featuring their eight most recent works with a controversial two tickets per customer policy. As most of these albums clocked in at just over 30 minutes, there was still an hour’s other favourites to savour for those lucky enough to get their names on the list.

This electronic extravaganza will be reprised at London’s Tate Modern in February 2013. As a former power plant, the location is wholly appropriate although the occasion will be tainted by the ticket fiasco that preceded it! Ex-member Karl Bartos was probably observing with amusement as he will be returning in 2013 with a new album ‘Off The Record’ and world tour. Disgruntled fans who missed out on the Tate Modern shows are now likely to be venturing his way for their KRAFTWERK fix!

Danny Boyle’s London 2012 Olympics Opening Ceremony attempted to showcase the best of British so with UNDERWORLD as musical directors, OMD, NEW ORDER, PET SHOP BOYS, BRIAN ENO and EURYTHMICS all figured during the evening.

DEPECHE MODE themselves announced a new album and tour for 2013 in a bizarre press conference that appeared to have no actual news! But this was not before Dave Gahan guested with SOULSAVERS and Martin Gore did a cameo for MOTOR; He also reunited with former bandmate Vince Clarke for the rather polarising techno project VCMG. And in a year that saw all members of the extended DM family busy, former bandmate Alan Wilder helped compile a tribute album to one-time synthpoppers TALK TALK and released the RECOIL concert film ‘A Strange Hour In Budapest’.

MARSHEAUX returned to London with a triumphant performance featuring The Blitz Club’s legendary Rusty Egan on electronic percussion during an encore of ‘Come On’, a song from their forthcoming fourth long player ‘Inhale’.

They also released a double headed single with the marvellous TWINS NATALIA; Sophie and Marianthi covered their cult favourite ‘When We Were Young’ to compliment their rendition of ‘Radial Emotion’.

After the label and personnel upheavals of last Autumn, MIRRORS regrouped as a trio and made a welcome return with a starker sound. While this new material perhaps lacked the immediacy of their ‘Lights & Offerings’ debut, songs like ‘Between Four Walls’ and ‘Dust’ captured a depth of mood that grew with each listen. MIRRORS off-shoot LOVELIFE decamped to make their fortune in New York and unveiled a promising number in ‘Brave Face’ which crossed OMD with HARD-FI.

Sweden proved its prowess with COMPUTE who beefed up her sound for second EP ‘The Distance’ while IAMAMIWHOAMI took her mysterious audio visual experience into the physical album arena for the first time with ‘Kin’ where the enigmatic electronic soundtrack stood up on its own. Just down the road, there was the RAMMSTEIN reincarnated as DEPECHE MODE menace of TITANS.

Electro crooners JULIAN & MARINA showcased their lounge crooner synthpop with a cover of a Hollywood-era Elvis number ‘A House That Has Everything’ and DAYBEHAVIOR released their third album ‘Follow That Car!’ after a year’s delay.

Among the best songs of 2012 was ‘Trust’ by Finland’s SIN COS TAN, a new project from VILLA NAH’s Juho Paalosmaa and ace producer Jori Hulkkonen. The parent eponymous album was impressive too and showed once again that the Nordic region was the perfect environment for the genesis of inventive leftfield synthpop.

From across the Atlantic, Canadians CRYSTAL CASTLES and PURITY RING were the darlings of the hipster cognoscenti along with GRIMES who hit the black keys of her Juno-G and impressed with her latest album ‘Visions’. She also made a timely appearance on ‘Later With Jools Holland’ which recalled the TV debut of LITTLE BOOTS back in 2008.

Sadly, Victoria Hesketh left behind her synth girl persona to head for the less challenging climes of clubland. Big rival LA ROUX was taking her time recording her second album while LADYHAWKE proved that she was always a rock chick in the first place with her second long player ‘Anxiety’sounding like it had been recorded down a drainpipe!

But in Diamond Jubilee Year, QUEEN OF HEARTS flew the electro flag with a glitzy slice of electro schaffel appropriately entitled ‘Neon’. A further single ‘Warrior’ proved it was not a fluke as the young royal turned into CLAUDIA BRÜCKEN meeting Emo KYLIE!

The UK found itself a few promising female-led electronic acts in the charmingly kooky …OF DIAMONDS, the Italo-led KOVAK and the dark but dreamy EVOKATEUR. But virtually out of nowhere came Glasgow’s new synth sensations CHVRCHES.

Despite only unleashing two songs ‘Lies’ and ‘The Mother We Share’ for public consumption, both were corkers; their much vaunted live performances met expectations, displaying both inventive synth arrangements and a vital pop sensibility.

The boys weren’t idle either with BRIGHT LIGHT BRIGHT LIGHT and KID KASIO unleashing their long awaited debut albums while on the newer side of the tracks, there was the angry OMD of AUTOMATIC WRITING, the FAITHLESS gone rock of SINESTAR and the ERASURE for the new millennium of MODOVAR.

After the excitement of the years between 2008 and 2011, this was a comparatively quiet year for the sound of the synth with regards special events. There was no Short Circuit or gatherings on the scale of Tomorrow Is Today, the Vintage Electronic Phuture Revue or the BEF Weekender.

Within the mainstream, the majors were keen to support electronic music just so long as it was dance oriented. Notably, EMI pushed the generic foil of SWEDISH HOUSE MAFIA and the ubiquitous David Guetta as the new acceptable faces of electronic music via their flawed ‘Electrospective’ promotional campaign; by default, this also involved Daniel Miller, Martyn Ware and Andy McCluskey due to the label’s ownership of the Virgin and Mute back catalogues! But some glaring schoolboy errors on their website and the use of quotes from COLDPLAY’s Chris Martin showed they didn’t really understand electronic pop…

There had been signs at the end of 2011 that the major record companies thought a rave revival would save their corporate bacons. Swedish synthpop duo THE SOUND OF ARROWS said that during their brief tenure with Geffen Records, the A&R had wanted them to sound more Ibiza club friendly. Their one-time label mate SUNDAY GIRL, who originally had a promising GOLDFRAPP meets JOY DIVISION sound, was reduced to covering dance numbers made famous by STEPS… her debut album originally slated for 2010 is still nowhere to be seen!

Meanwhile, MARINA & THE DIAMONDS‘ very good in places second album ‘Electra Heart’ had several of its songs spoiled by overdriving club beats! Is this really the only way to make people dance? It all seems a little brain dead! “NAME THAT TUNE…” snarled Rusty Egan on Facebook, “…if you can hear one?”

So should ELECTRICITYCLUB.CO.UK settle down with a pipe and slippers? While we prefer to “dance to disco” cos we “don’t like rock”, there must be more to electro than shallow repetitive four-to-the-floor thuds and glowsticks?

ELECTRICITYCLUB.CO.UK likes a tune and doesn’t pretend to love every variation of the electronic theme. And from conversations with several DJs, it would appear clubland doesn’t want to be associated with the classic synthpop world anymore than the classic synthpop world wants to be lumped in with dance culture… so why attempt to centralise everything?

Modern beat driven flavours and other influences can be appreciated but a full blown experience is not always what is required! As the marvellous new Texan duo ELEVEN:ELEVEN have proved, danceable electronic music can be made that is subtle and syncopated. And all this without the need of an annoying dubstep remix, or a 10 minute techno rework with no melodic elements!

It’s cool to be discerning…

ELECTRICTYCLUB.CO.UK Contributor Listings of 2012

PAUL BODDY

Best Album: DEADMAU5 >album title goes here<
Best Song: ORBITAL New France (Tom Middleton Cosmos remix)
Best Gig: RAMMSTEIN at London O2 Arena
Best Video: SPLEEN UNITED Days Of Thunder
Most Promising New Act: TITANS

STEVE GRAY

Best Album: ULTRAVOX Brilliant
Best Song: CHVRCHES Lies
Best Gig: HEAVEN 17 at London Shepherds Bush Empire
Best Video: SINESTAR I Am The Rain
Most Promising New Act: CHVRCHES

CHI MING LAI

Best Album: SIN COS TAN Sin Cos Tan
Best Song: SIN COS TAN Trust
Best Gig: HEAVEN 17 at London Shepherds Bush Empire
Best Video: IAMAMIWHOAMI Drops
Most Promising New Act: CHVRCHES

RICHARD PRICE

Best Album: SIN COS TAN Sin Cos Tan
Best Song: ULTRAVOX Rise
Best Gig: BAS II
Best Video: KID KASIO Telephone Line
Most Promising New Act: KARIN PARK

Text by Chi Ming Lai
16th December 2012

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2012

12 December 2012 /


It was a weak year musically overall, but a number of acts with great potential emerged.

However, in stronger years, a fair number of these acts would not have been shortlisted, it has to be said.  So here are ELECTRICITYCLUB.CO.UK’s 30 Songs of 2012, listed in alphabetical order.

All have been released either in physical formats or digitally as purchasable or free downloads during the calendar year. However, the list is limited to one song per artist. It also does not include tracks which are exclusive to streams and videos or DJs only promos…

AUTOMATIC WRITING Continuous

Consisting of the Merrick Brothers, AUTOMATIC WRITING are the angry OMD! Their sombre Eno influenced template is like Wirral’s finest have been given a contemporary anthemic facelift by having WHITE LIES’ Harry McVeigh recruited as lead vocalist! ‘Continuous’ whirs and spins while driven by mutant motorik beats and dysfunctional claustrophobia. The flip ‘Falling’ is a more mid-tempo cousin.

Available as a download single via http://automaticwriting.bandcamp.com/

http://www.facebook.com/automaticwriting

BRIGHT LIGHT BRIGHT LIGHT Immature

BRIGHT LIGHT BRIGHT LIGHT is Welsh songwriter/producer Rod Thomas who adopted his ‘Gremlins’ referencing moniker to prevent being mistaken for an acoustic folk act. As the opener to the long awaited album ‘Make Me Believe In Hope’, ‘Immature’ is a great start as it rhythmically percolates in the manner of THE POSTAL SERVICE before a terrific synth section unexpectedly lifts the whole piece several notches. This is a superbly emotive and sensitive piece of pop.

Available on the album ‘Make Me Believe in Hope’ via The Blue Team/Aztec Records

http://www.brightlightx2.com/

CLAUDIA BRÜCKEN Everyone Says Hi

From ‘The Lost Are Found’ album produced by Stephen Hague which also features versions of songs originally by PET SHOP BOYS and DUBSTAR among others, Claudia Brücken’s lively reinterpretation of Bowie’s ‘Everyone Says Hi’ from ‘Heathen’ unveils a previously hidden heartfelt connection, a call for contact like Major Tom in ‘Space Oddity’. Dressed with catchy synth riffs and fuzzy shades, it combines ice maiden chill and organic warmth for an artful sound.

Available on the album ‘The Lost Are Found’ via There (there)

http://www.claudiabrucken.co.uk/

CHVRCHES Lies

Robyn doing an electro cover of ‘The Whole Of The Moon’ may not sound immediately appealing in concept but that’s how this punchy number starts before elevating into a rousing, spirited synth anthem. CHVRCHES could become the next electro combo to shake up the mainstream pop world since LA ROUX. A great song with great melodies and weird noises, herein ‘Lies’ the bridge between leftfield and bubblegum pop.

Available as a free download via Neon Gold

http://www.facebook.com/CHVRCHES

VINCE CLARKE Featuring ANE BRUN Fly On The Windscreen

Novelist Tonya Hurley commissioned her brother-in-law Vince Clarke to record a stark cover of his former band’s ‘Fly On The Windscreen’ with vocalist Ane Brun as part of promotion for her literary trilogy ‘The Blessed’. While the guitar-like textures appear to have been borrowed from the original in an act of artistic continuity, the rest of the arrangement is quite different as the vulnerable feminine twist acts as the ‘Twilight’ Generation’s perfect introduction to DEPECHE MODE.

Available as a download single via iTunes and Amazon

http://www.vinceclarkemusic.com/

http://anebrun.com/

COMPUTE Light As A Feather

COMPUTE is Ulrika Mild, a Gothenburg girl who discovered synthpop via DEPECHE MODE’s ‘Speak and Spell’. ‘The Distance’ is a follow-up to the debut album ‘This’ and from it, ‘Light As a Feather’ is a bouncy but melancholic ditty which suggests a snow mountain of vulnerability. That is certainly apparent in Ulrika’s sweet, fragile voice. It’s beautifully sequenced with layers of eerie string machine for that distinctive Nordic chill.

Available on download album ‘The Distance’ via iTunes and Amazon

http://www.compute.se

CURXES Spectre

Roberta Fidora shows yet another fine turn of aggressive resignation like SIOUXSIE SIOUX in a padded cell while instrumentalist Macaulay Hopwood picks out his unsettling bass notes to full effect. While this CURXES tune is perhaps more guitar driven than what would normally be expected of most electronica, ‘Spectre’ is positively Spartan with symphonic synth stabs and industrial beat snaps…it’s the sound of the overground or Goth ‘n’ Bass…or even Gotham Bass; geddit? Simply exhilarating!

Available as a download single via Amazon and iTunes

http://www.curxes.com

DIVINE KNIGHTS Clouds (THE SANFERNANDO SOUND remix)

Goth laden PET SHOP BOYS from the theatrical Aussie duo dreamily remixed by THE SANFERNANDO SOUND. This is richly synthesized with lashings of atmosphere and accessible melancholy. The extrovertly camp pair have even subverted the realm of the talent show by getting into the semi-finals of ‘Australia’s Got Talent’. Dannii Minogue said: “I think DIVINE KNIGHTS are brave for coming on a show like this because not everybody is going to get them…but I really hope they do well!”

Available as a download single via Amazon and iTunes

http://www.divineknights.com.au/

http://www.facebook.com/thesanfernandosound

ELEVEN:ELEVEN No Words

Texan duo ELEVEN:ELEVEN comprise the feline vocals of Sicca with the instrumentation of Jake Childs and throw in a variety of influences including Italo Disco, Hi-NRG and Electroclash. ‘No Words’ recalls MISS KITTEN & THE HACKER, capturing a tense nightlife seediness. Short but sweet with a swirling middle section, who needs an extended dance mix when the point is made in two and a half minutes?

Available as a free download via http://weare1111.com/

GAZELLE TWIN Changelings (JOHN FOXX & THE MATHS remix)

Stark and mysterious, the living art of GAZELLE TWIN is the moniker of Elizabeth Walling, the Brighton based songstress whose brooding, unsettling Hauntronica has impressed in all the right circles. JOHN FOXX & THE MATHS’ version of one of her best tracks ‘Changelings’ sees Mr Foxx adding his own Cathedral Oceans sweeps to Benge’s Mathematical solutions. In an productive year profile wise, her music was used in the promotion for the film ‘Prometheus’.

Available on the album ‘The Entire City Remixed’ via Anti-Ghost Moon Ray Records

http://www.gazelletwin.com/

GRIMES Oblivion

GRIMES is the kooky Montreal sensation that is Clare Boucher and this Lykke Li fronting KRAFTWERK tune is sumptuously infectious. Despite almost unintelligible vocals, ‘Oblivion’ is probably the most immediate track on the ‘Visions’ album although other tracks like ‘Genesis’ and ‘Be A Body’ explore similarly accessible synthesized avenues. ‘Oblivion’ is ideal for those looking for subtler percussive colours and synthesized tapestries in a leftfield lady meets pop princess fusion.

Available on the album ‘Visions’ via 4AD Records

http://www.grimesmusic.com

HUSKI Close To The Edge

HUSKI first came to public attention on the trendy Shoreditch electro scene back in 2007 with ‘Take Me Your Picture’.  The late lamented Word magazine described ‘Close To The Edge’ as sounding “not unlike how Clare Grogan might if she took a guest slot with THE HUMAN LEAGUE”. As both THE HUMAN LEAGUE and ALTERED IMAGES worked with the late Martin Rushent, that is not as peculiar as it first sounds and it brims with a cutesy allure.

Available on the album ‘H’ via Amazon and iTunes

http://www.huskimusic.com/

IAMAMIWHOAMI Drops

IAMAMIWHOIAMI is the enigmatic electronic multimedia project fronted by Jonna Lee. From her first full length album ‘Kin’, ‘Drops’ is uptempo but almost trancelike. The beats are subtle with just layers of ice and chill to compliment. The clattering fits of noise and metallic textures add to the hypnotism. Jonna Lee’s piercing larynx will polarise listeners but this is Nordic weirdness in all its wonderful glory.

Available on the album ‘Kin’ via To Whom It May Concern

http://www.towhomitmayconcern.cc/

INJE Kofein I CO2

Hailing from Belgrade and featuring the nucleus of vocalist Jelena Miletić and instrumentalist Jovan Vesić, INJE have supported HURTS and FAITHLESS in their home country. Their chromatic East European charge will almost certainly please followers of LADYTRON. The excellent ‘Kofein I CO2’ is sort of DUBSTAR in Serbo-Croat meets David Lynch soundtrack, possessing an aural magnetism that is gorgeously layered with an air of wispy innocence.

Available as a free download from http://inje.rs/

KOVAK Killer Boots

‘Killer Boots’ is cooing new wave electropop with an immediately catchy Italo vibe…think ‘Self Control’ or even ‘Touch Me’! Appropriately decadent and sexy, this catchy song is produced by Gary Numan collaborator Andy Gray. Colourful, energetic and glamourous, KOVAK are like BLONDIE meeting DRAGONETTE and Gwen Stefani through a TUBEWAY ARMY voltage controlled filter.

Available as a download single via 74 Music

http://kovak.co.uk/

LITTLE JINDER Keep On Dreaming

Is it dubstep or is it electro? ‘Keep On Dreaming’ actually sounds more like the latter. When the half beat/two step influences kick in, luckily they do so without the irritating, skipping CD nightmares that devilishly plague most dubstep. But like with all crossover songs, it is the flavour rather than the full blown experience that often wins favour. Confused? Just enjoy… this number by young Stockholm songstress Josefine Jinder features lots of lovely synths!

Available as a download single via Trouble & Bass

http://www.facebook.com/littlejinder

LOVELIFE Brave Face

From the creative minds of former MIRRORS man Ally Young and Lee Newell from one-time indie darlings VIVA BROTHER, ‘Braveface’ is a chilling but uplifting piece of mood music which comes over like OMD fronted by HARD FI! With its Cool Britannia meets Synth Britannia fusion via the Big Apple, LOVELIFE’s genre blend may be confusing indie and electronic music fans alike but at least it’s different.

Available on the free download EP ‘El Regreso’ from http://www.lvlf.info/

https://www.facebook.com/LVLFinfo/

MIRRORS Between Four Walls

Since slimming down to a trio, MIRRORS have been heading for a sparser, textural direction which is perhaps less immediate than their debut album ‘Lights & Offerings’ but nevertheless rewarding with further listens. The beautifully stark drama of ‘Between Four Walls’ is sublime and full of post 3am drama. It is high end atmospheric electronic balladry at its best. “Do you ever wonder how you’ll ever get there when you never turn back around?”

Available as a download single via http://mirrorsofficial.bandcamp.com/

http://www.facebook.com/theworldofmirrors

MODOVAR Clearly

Comprising of Glen Wisbey on synths and the suave persona of Christopher Beecham on vocals, MODOVAR’s most immediate number is the emotively rousing ‘Clearly’. Beecham is a man with a self-confessed admiration of Alison Moyet so ‘Clearly’ connects as a song of love in the first degree. It is just one of their “melodic, anthemic, chorus led songs, lyrically focused on the undercurrents of love and the human condition”. Also check out their cover of ROXY MUSIC’s ‘Same Old Scene’.

Available on the download EP ‘Clearly’ via Amazon and iTunes

http://modovar.com/

MOTOR featuring MARTIN L GORE Man Made Machine

MOTOR’s electro stomper ‘Man Made Machine’ features vocals by DEPECHE MODE’s Martin Gore in a collaboration that sounds not unlike a camp IGGY POP being backed by an angry GOLDFRAPP. In the absence of DM material in 2012, this has been a worthy substitute with Gore luring nervously over the duo’s brand of harder edged techno electro. Incidentally, the same titled parent album also features guest such as Gary Numan and Douglas J McCarthy.

Available on the album ‘Man Made Machine’ via CLR

http://www.wearemotor.com/

THE MYSTIC UNDERGROUND Remember Me

New York domiciled Anglophile duo THE MYSTIC UNDERGROUND’s make “pop songs for the disenchanted, disillusioned and disenfranchised”. Featuring Vladimir Valette on vocals and Benedetto Socci on keyboards, their “life…set to a dance beat” touches a nerve and now more so than the NEW ORDER influenced ‘Remember Me’. An emotive guitar assisted number in the vein of ‘Leave Me Alone’, it is slightly mournful and despaired but melodically secure.

Available on the download EP ‘Dreamers & Lovers’ via Stereosonic Recordings

http://www.themysticunderground.com

KARIN PARK Thousand Loaded Guns

Bjorne goes synthy via THE KNIFE on ‘Thousand Loaded Guns’, a danceable tune that provides a degree of accessibility into the world of darker Nordic climes. Hailing from the forests of Djura in Sweden, Karin Park is yet another child of Drejer-Andersson, straddling between electropop and artier aspirations. Her sound is sonically awkward, albeit in a liberating artistic way. Scandinavia is a great place to be musically at the moment.

Available on the album ‘Highwire Poetry’ via State Of The Eye Recordings

http://www.karinpark.com/

QUEEN OF HEARTS Neon

Following her Arrival in 2011, QUEEN OF HEARTS graced the music world with a glitzy slice of electro schaffel appropriately entitled ‘Neon’. On first hearing this live, t ELECTRICITYCLUB.CO.UK gleefully pronounced that this managed to out Goldfrapp GOLDFRAPP. While this had the obvious hallmarks of Lady Alison’s glam stomp, Queenie added her own cooing poptastic flavour, recalling RACHEL STEVENS’ under rated and great lost album ‘Come & Get It’.

Available on the download EP ‘Neon’ via All Things Go Records

http://www.iamqueenofhearts.com/

RITUALS James

Hailing from downtown Los Angeles, RITUALS comprise vocalist Neil Popkin and electronic producer Julian Denis. ‘James’ is rousing neo-NEW ORDER meets THE BRAVERY (remember them?) stomper which is only slightly short of being outstanding due to its demo-ish production…but the song resonates with an appealing doom. ‘Walk Away’ from their 2011 debut EP is another fine example of their potential.

Available as a free download via http://ritualsla.bandcamp.com/

http://ritualsla.com/

SIN COS TAN Trust
SIN COS TAN is the new mathematically charged project of ace producer Jori Hulkkonen and VILLA NAH’s Juho Paalosmaa, “a synthesized duo of great promise, broken dreams, and long nights”. They have certainly delivered with ‘Trust’, all draped in melancholy with emotive vocals haunted by the ghost of Billy Mackenzie. This is subtle, hypnotic dance music with layered strings, sampled cimbalom and Cold War dramatics, it is one of the songs of the year.

Available on the album ‘Sin Cos Tan’ via Solina (Europe) and Sugarcane Recordings (Rest of World)

http://www.facebook.com/homeofsincostan

SINESTAR Hurricane

Bristol’s SINESTAR are a full blown five-piece band with drums, bass and guitar as well as synths and their MESH derived synthesized rock has the potential to crossover into several electronic sub-genres. With a so far small but impressive body of work as showcased on the ‘I Am The Rain’ EP, the terrific ‘Hurricane’ is like FAITHLESS gone rock! Catchy, tuneful and anthemic, they just need to work on the production.

Available on the download EP ‘I Am The Rain’ via Dead Rat Recordings.

http://www.facebook.com/pages/Sinestar/310216912403126

STRANGERS Safe/Pain

STRANGERS have been perilously close to COLDPLAY territory on occasions. But on ‘Safe/Pain’, a moody slice of sweeping synth noir with a lonely piano intro, the big surprise comes when a series of rave stabs cut in for the ultimate euphoric lift, crossed with a bit of dubstep! The BBC loved ‘Safe/Pain’ and used it for a clip of Team GB’s immense cycling achievements at the end of the London 2012 Olympics, while they got support slots with BLANCMANGE under their belt.

Available as a download single via Beatwolf

http://strangers.co.uk

TITANS It’s Dark

‘It’s Dark’ could be RAMMSTEIN reincarnated as DEPECHE MODE with fewer the flame throwers! TITANS’ vocalist Dan Von Hoyel sounds like a lower register Dave Gahan winning a fight with a less Teutonic Till Lindemann. In an electronic sub-genre known for its shouting, ‘It’s Dark’ manages to sound menacing without forcing the aggression. The edgy electronic backing from Fredrik Mattsson and Jimmy Svensson blends marvellously with the band’s doompop manifesto.

Available on the download album ‘For The Long Gone’ via Progress Productions

http://www.facebook.com/TitansOfficial

ULTRAVOX Live

There were so many songs that could have been chosen but with this opener from their err… Brilliant comeback album was ULTRAVOX’s optimistic message of intent. Musically, ‘Live’ is ‘Dancing With Tears In My Eyes’ without the imminent nuclear holocaust! The instrumental breakdown, which drops to a magnificent pulsing sequence, piano and lone bass drum before the climax, is pure LA DÜSSELDORF and really is something to be savoured.

Available on the album ‘Brilliant’ via Eden Recordings/EMI Records

http://www.ultravoxbrilliant.com/

SAORI YUKI Yoake No Scat (MARSHEAUX remix)

While recording their long awaited new album ‘Inhale’, MARSHEAUX added to their remix portfolio with a terrific reworking of a track dating back to 1969 by Japanese classic singer Saori Yuki. Adding incessant beats, infectious pulsing synth and melancholic washes of sound to the more organic re-recording with PINK MARTINI from 2011, this brings Kayokyoku (a style of Japanese music thatabsorbs various Western styles) into the electro age with a Melody For a New Dawn.

Available as a download single via EMI Japan

http://ameblo.jp/saori-yuki

Text by Chi Ming Lai
12th December 2012

ULTRAVOX Rise of the Soft Synth

4 October 2012 /

GForce Software have just issued a fascinating viral film of soundcheck footage and a brief backstage chat with ULTRAVOX during the ‘Brilliant’ tour about using the company’s plug-in synths to recreate the sounds from their classic albums live.

In the interview, the band’s two main synthesists Billy Currie and Chris Cross discuss the VSM, Oddity, impOSCar2 and Minimonsta. Chris Cross particularly enthuses about the VSM’s (Virtual String Machine) ability to replicate the Elka Rhapsody 610; its colder shrill can be heard on ‘Mr X’ (plus ‘Hiroshima Mon Amour’ and also throughout John Foxx’s ‘Metamatic’), while Billy Currie jokes about using the VSM on every track, especially for the swimmier tones of the Yamaha SS30 which forms the prominent sound on ‘The Voice’.

However, Currie also explains that he tried to stay clear of it during the recording of the new album ‘Brilliant’ to avoid overdoing this vintage element of ULTRAVOX’s distinct sound. It did however appear on the Kraftwerkian / Moroderesque hybrid stomper ‘Rise’, although it was ironically pushed back into the mix by “our guitarist/producer” Stephen J Lipson but now brought forward for the concert version!

Of course, no ULTRAVOX live set would be complete with Billy Currie’s ARP Odyssey soloing and to do this, he has engaged G-Force’s Oddity via his Novation workstation using control features such as portmento and autobite. Currie also mentions the impOSCar2 which he uses for ‘Rage in Eden’ era material like ‘We Stand Alone’ which was recorded using an Oberheim OBX. Of course, the original OSCar was actually designed by British synth innovator Chris Huggett with Billy Currie very much in mind.

Meanwhile Chris Cross reflects on his new mainstay, the Minimonsta which is used for the pulsing basslines on tracks such as ‘All Stood Still’, ‘Sleepwalk’ and ‘The Thin Wall’ in place of his now long lost Minimoog. “Out of all the Minimoog plug-ins, that’s the one I find most like the Minimoog…” he says. However, Currie adds that to recreate the analogue “bounce” of their back catalogue is “not easy to do”! But the current 27 song live set on the ‘Brilliant’ tour is among one of the band’s best ever.

When it is considered that at the height of their powers, ULTRAVOX had 27 keyboards and electronic devices on stage including the PPG Wave 2.2, Emulator, Yamaha electric piano, various Yamaha CS series synths and Warren Cann’s infamous percussion console ‘The Iron Lung’, to have been able to slim down the set-up to suit the practicalities of a nationwide tour AND virtually recreate their powerful electronic rock sound of old on stage has been one the joys in the advances of music technology.

‘Brilliant’ is released by Eden Recordings/EMI Records, a clear vinyl double album edition is released on 15th October 2012.

ULTRAVOX tour the UK and Europe in Autumn 2012. Dates include:

Sheffield City Hall (4th October), Blackpool Opera House (6th October), Glasgow Clyde Audiotorium (7th October), Gateshead The Sage (8th October), Paris Trabendo (10th October), Tilburg 013 (12th October), Hamburg Docks (14th October), Sundbyøster Amager Bio (15th October), Malmö KB (16th October), Helsinki Tavastia (18th October), Oslo Rockefeller (21st October), Heden Trädgår’n (23rd October), Berlin Columbiahalle (25th October),  Mainz Phoenixhalle (26th October),  Leipzig Haus Auensee (27th October), München Kesselhaus (29th October), Vienna Gasometer (30th October), Memmingen Stadthalle (3rd November), Milan Alcatraz (5th Novermber), Köln E-Werk (7th November), Bielefeld Ringlokschuppen (8th November)

http://www.ultravox.org.uk

https://www.facebook.com/UltravoxUK/

http://www.gforcesoftware.com

Text and Photos by Chi Ming Lai
4th October 2012, updated 25th February 2018

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