Tag: Vic Twenty

The Electronic Legacy of VARIOUS ARTISTS

2 August 2020 /

So come on, whose first album was a various artists compilation?

They were the biggest sellers for a decade and had dominated the UK album charts so much so that they were given their own!

In 1966, the Canadian budget household gadget firm K-Tel diversified into the territory of compilation albums with ‘25 Country Hits’; it was a surprise success and this comparatively new idea of collecting a number of artists onto an album based around a single theme was expanded further.

K-Tel negotiated directly with artists and labels for the rights to reproduce the original recordings, but where this was not possible, the company would contract “one or more of the original artists” to make a new recording for the compilation, under the premise that the public generally could not tell the difference between a re-recording and the original.

However, UK budget label Pickwick Records via their Hallmark imprint went one step further in 1968 by producing compilations of the latest hits but as rush-recorded soundalike cover versions under the title ‘Top Of The Pops’ which had nothing to do whatsoever with the BBC TV show; it was all perfectly legal thanks to an oversight by the corporation on trademark.

Purchasers unknowingly got treated to unique interpretations of ‘Autobahn’ and ‘The Model’ by anonymous session musicians who quite obviously had only learnt the song ten minutes before entering the studio. Although demand for such records had dimmed by 1981, acts such as SOFT CELL were still unable to escape with ‘Say Hello Wave Goodbye’ hilariously reduced to geezer pub rock! The singer was revealed to be one Martin Jay who a few years earlier had treated the world to his cloak and dagger take on ‘Are Friends Electric?’.

The albums from K-Tel attempted to cram as many songs as possible onto the 12 inch vinyl format. In order to accommodate this philosophy within its physical limitations, many of the tracks were faded out early or came in unusual and often clumsy edits. But even these versions were sought after by loyal fans, thus making the records they came from valued collector’s items.

The various artists compilation album changed forever in 1983 when Virgin and EMI joined forces to produce the ‘Now That’s What I Call Music’ series which at the last count had reached ‘Now 106’ and spawned numerous spin-offs and even cable TV channels. In 1984, Sony BMG and Warner Music joined in the action with the ‘Hits’ series, but such was the domination in the UK of these types of albums that in 1989, they were given their own chart and excluded from the main one!

For electronic pop, ‘Machines’ released by Virgin Records in 1980 was one of the first attempts to gather music using synthesizers into one place, but the entry point for many new fans was 1981’s ‘Modern Dance’ on K-Tel. This well-thought out collection saw youngsters saving up their pocket money for their first record purchase or asking Santa to put it into their Christmas stocking, thanks to Radio1 DJ Peter Powell declaring that ‘Modern Dance’ was “The best of total danceability, the sounds of modern dance, on one LP!”.

As with greatest hits albums, what makes a great various artists compilation is a seamless listening experience where possible, or at least more killer than filler. However the continuous DJ mix was a particular irritant running through compilations for a period and rarely worked with classic material or recordings not specifically aimed at the clubland.

Staying within theme on a compilation though is VERY important and straying just slightly can spoil a whole concept, especially if it has been outlined in the title. Soul Jazz Records’ lushly packaged ‘Deutsche Elektronische Musik’ sets over two volumes contained a wide range of freeform experimental works from Germany, but occasionally forgot about the Trade Descriptions Act implications of its title. Meanwhile, ‘Reward’ by post-punk trip-poppers THE TEARDROP EXPLODES had a regular place on collections such as ‘Club For Heroes’, ‘New Romantic Classics’, ‘It’s Electric’ and ‘Our Friends Electric’ despite being brass dominated.

But the nadir came with ‘Synth Pop’, a 3CD collection by Sony Music in 2015 which totally missed the point by featuring AZTEC CAMERA and HAIRCUT 100!??! Now while the inclusion of IMAGINATION’s ‘Body Talk’ with its iconic Moog bassline could be justified, the set highlighted just how much the modern day definition of “synth pop” had become particularly blurred…

Although some listeners just want endless hits on various artists compilations, others want to be informed and introduced to some lesser-known or rare songs. However, this latter approach can meet with mixed results.

For example, Cherry Red’s ‘Close To The Noise Floor’ and the Trevor Jackson’s ‘Metal Dance’ series were historically fascinating, but not always easy collections to listen to in one sitting. With some of the music close to being unlistenable, it could be akin to studying a hefty text book… highly educational but not always entirely fun!

So ELECTRICITYCLUB.CO.UK takes a personal look at the electronic legacy of various artists via 20 notable compilation albums, each with valid reasons for their inclusion, presented in yearly and then alphabetical order within. Yes, several songs reoccur over a number of these releases, but perhaps that is more an indication of their timeless nature. These were tunes that were dismissed by the press and wider public back in the day, but are now considered classic and part of the cultural heritage.

MACHINES (1980)

Having seen the future and signed THE HUMAN LEAGUE as well as OMD through their Dindisc subsidiary, Virgin Records issued a long playing showcase of acts that used synthesizers as their primary instrumentation. Among the outsiders were TUBEWAY ARMY, FAD GADGET, SILICON TEENS and DALEK I LOVE YOU. XTC’s B-side ‘The Somnambulist’ appeared to be incongruous, but was from their synth experimentation period.

‘Machines’ was released by Virgin Records

https://www.discogs.com/Various-Machines/master/59149

METHODS OF DANCE (1981)

This compilation been the idea of David Sylvian, hence why it was named after the JAPAN song although their contribution would be ‘The Art Of Parties’. Virgin presented their embarrassment of riches including BEF, DEVO, DAF, SIMPLE MINDS and MAGAZINE while the primary selling point was a special dub edit of THE HUMAN LEAGUE’s ‘Do Or Die’ as a trailer to ‘Love & Dancing’. The cassette had more tracks including John Foxx and the actual undanceable ‘Methods Of Dance’ song!

‘Methods Of Dance’ was released by Virgin Records

https://www.discogs.com/Various-Methods-Of-Dance/master/43926

MODERN DANCE (1981)

1981 was when the sound of electronic pop was virtually everywhere, so ‘Modern Dance’ was perfect synthchronicity. Featuring the stellar cast of OMD, THE HUMAN LEAGUE, HEAVEN 17, JAPAN, DEPECHE MODE, SIMPLE MINDS, VISAGE, LANDSCAPE, FASHION and THE CURE as well as John Foxx and Gary Numan, an indicator of how supreme this compilation was came with the fact that its most obscure track ‘A World Without Love’ by THE NEWS was rather good!

‘Modern Dance’ was released by K-Tel Records

https://www.discogs.com/Various-Modern-Dance/release/504872

SOME BIZZARE ALBUM (1981)

Stevo Pearce’s compendium of new Futurist acts has gone into folklore, having launched the careers of DEPECHE MODE, SOFT CELL, BLANCMANGE, THE THE and B-MOVIE. Several of acts who didn’t make it were also superb. THE FAST SET’s cover of Marc Bolan’s ‘King Of The Rumbling Spires’ was enjoyable electro-macabre while the rousing ‘Tidal Flow’ by ILLUSTRATION is one of the great lost songs of the era.

‘Some Bizzare Album’ was released by Some Bizzare

https://www.discogs.com/Various-Some-Bizzare-Album/master/2754

CLUB FOR HEROES (1992)

It took a few years to realise just how good the music from the New Romantic era was. This compilation was named after one of Steve Strange and Rusty Egan’s club nights. Featuring DURAN DURAN, SPANDAU BALLET, ULTRAVOX, VISAGE, SOFT CELL and JAPAN, others who also got into the party were YAZOO, ABC, TALK TALK and CLASSIX NOUVEAUX while most welcome were ICEHOUSE with their eponymous single.

‘Club For Heroes’ was released by Telstar Records

https://www.discogs.com/Various-Club-For-Heroes/master/120444

IT’S ELECTRIC (1994)

Gathering “Classic Hits From An Electric Era” including the full length ‘Blue Monday’ from NEW ORDER, ‘It’s Electric’ was largely, a more purist synth collection than ‘Club For Heroes’. Alongside the usual suspects were A FLOCK OF SEAGULLS, TEARS FOR FEARS, BRONSKI BEAT, KRAFTWERK, EURYTHMICS, BRONSKI BEAT and ERASURE. However, this collection featured the album version of ‘Tainted Love’ instead of the single, a mistake that would be repeated again and again.

‘It’s Electric’ was released by Dino Entertainment

https://www.discogs.com/Various-Its-Electric-Classic-Hits-From-An-Electric-Era/master/37974

DAWN OF ELECTRONICA (2000)

Celebrating “a music synonymous with futurism”, ‘Dawn Of Electronica’ included the album version of ‘From Here To Eternity’ by Giorgio Moroder and the Some Bizzare version of ‘Remembrance Day’ by B-MOVIE. With the likes of DAF, SUICIDE, ASSOCIATES, CABARET VOLTAIRE, PROPAGANDA, THE ART OF NOISE and YELLO alongside TUBEWAY ARMY, ULTRAVOX, JAPAN and SOFT CELL, this compilation was something a bit different to what had come before.

‘Dawn Of Electronica’ was released by Demon Music Group

https://www.discogs.com/Various-Dawn-Of-Electronica-Uncut/release/577680

ELECTRIC DREAMS (2002)

Like ‘Teenage Kicks’ for punk and new wave, there are far too many compilations named ‘Electric Dreams’. This 2CD affair from Virgin Records comprised of 38 “synth pop classics”. This was a compilation combining trailblazing analogue electro and the advent of digital sampling that actually worked. From ‘The Model’ and ‘Electricity’ to ‘Relax’ and ‘19’, with ‘We Are Glass’, ‘Yellow Pearl’, ‘Say Hello Wave Goodbye’ and ‘Absolute’ in between, this was one of the best releases of its type.

‘Electric Dreams’ was released by Virgin Records

https://www.discogs.com/Various-Electric-Dreams/release/322736

THIS IS HARDCORE (2002)

God Made Me Hardcore was a label set-up by Andy Chatterley and Richard Norris for electroclash tracks they had involvement in. ‘This Is Hardcore’ included some striking covers; THE DROYDS and MOON UNIT contributed SQUEEZE’s ‘Take Me I’m Yours’ and DEVO’s ‘Whip It’ respectively, while there was also a brilliant posh boy mash-up ‘Assault On The West End Girls’ by MUGATU. Siobhan Fahey of SHAKESPEAR’S SISTER and Irish combo RIVIERA also featured.

‘This Is Hardcore’ was released by God Made Me Hardcore

https://www.discogs.com/release/289143-Various-This-Is-Hardcore

THIS IS NOT THE 80s (2002)

Subtitled “A Nu-Wave Electro Compilation”, this brought out the electro in Electroclash with gloriously klanky drum machines in abundance. The undoubted star was Miss Kittin with four tracks including the mighty scene anthem ‘You & Us’ with Michael Amato aka THE HACKER; meanwhile the man himself and Anthony Rother each had three contributions. FPU, DOPPLEREFFEKT and ADULT. were among those bringing the sound of electronic pop into the 21st Century.

‘This Is Not The 80s’ was released by Incredible / Sony Music

https://www.discogs.com/Various-This-Is-Not-The-80s-A-Nu-Wave-Electro-Compilation/master/375573

THIS IS TECH-POP (2002)

Compiled by Ministry Of Sound, ‘This Is Tech-Pop’ was a representative snapshot of the start of the 21st Century, although “Tech-Pop or Electroclash or Synth-Core or Neu-Electro” legend highlighted dance music’s daft obsession with categorisation. The music from LADYTRON, FISCHERSPOONER, TIGA & ZYNTHERIUS, FC KAHUNA, WALDORF, SOVIET, FELIX DA HOUSECAT and GREEN VELVET was excellent but DJ mixing the tracks together clouded the listening experience.

‘This Is Tech-Pop’ was released by Ministry Of Sound

https://www.discogs.com/Various-This-Is-Tech-Pop/release/50649

ELECTRICITY 2 An Electronic Pop Sampler (2003)

‘Electricity 2’ came at a time when the only platform for UK and Irish synth acts seemed to be Ninthwave Records in the USA. It featured HEAVEN 17’s first new song for six years in ‘Hands Up To Heaven’ as well as material by WHITE TOWN, SPRAY and EMPIRE STATE HUMAN. Highlights included ‘The Machines’ by MASQ which sounded like a bizarre Gaelic synthpop take on Gary Numan and the comical ‘Alan Cumming’ by TURD FERGUSON which sent up MISS KITTIN & THE HACKER.

‘Electricity 2’ was released by Ninthwave Records

https://www.discogs.com/Various-Electricity-2-An-Electronic-Pop-Sampler/release/730718

ROBOPOP Volume 1 (2003)

Compiled by Wayne Clements of Essex duo MACONDO, ‘Robopop’ was possibly the closest thing to the ‘Some Bizzare Album’ in the 21st Century. Heading the line-up were CLIENT and MY ROBOT FRIEND while Mute stalwarts KOMPUTER contributed ‘My Private Train’. The stand-outs though were machine funksters ALPINE STARS, irreverent retro-poppers BAXENDALE and VIC TWENTY featuring Piney Gir with a delicious synth cover of Lynsey de Paul’s ‘Sugar Me’.

‘Robopop Volume 1’ was released by Lucky Pierre Recordings

https://www.discogs.com/Various-Robopop-Volume-I/release/296881

RETRO:ACTIVE 5 (2006)

Compiled by Alex Hush, now of U2 and ERASURE remixers DAYBREAKERS, ‘Retro:Active 5’ gathered 12 classic 12 inch extended versions into a listenable programme. A-HA and THE PSYCHEDLIC FURS led the way with BLANCMANGE and DEAD OR ALIVE in support, but the biggest selling points were the ultra-rare ‘Love Cascade’ from LEISURE PROCESS and ‘More To Lose’ by SEONA DANCING, the duo fronted by Ricky Gervais.

‘Retro:Active 5’ was released by Hi-Bias Records

https://www.discogs.com/Various-RetroActive5-Rare-Remixed/release/719639

ROBOPOP The Return (2006)

For ‘Robopop The Return’, Wayne Clements was joined by production duo MANHATTAN CLIQUE. Described as “Essential Electro Pop”, it was a much higher profile release than its predecessor with GOLDFRAPP, THE KNIFE, TIGA and DRAGONETTE all on board. Also present were THE MODERN relaunching as MATINEE CLUB while HUSKI, FORMATIC, LORRAINE and SOHO DOLLS were among the worthy lesser-known inclusions.

‘Robopop – The Return’ was released by Planet Clique / Lucky Pierre

https://www.discogs.com/Various-Manhattan-Clique-Robopop-The-Return/release/1410368

CHILLTRONICA A Definition No1 (2008)

A downtempo compilation by BLANK & JONES, the most exquisite tracks featured female vocalists with Sarah Nixey just pipping the highlight honours on her cover of JAPAN’s ‘Ghosts’ with INFANTJOY over Claudia Brücken on the hosting DJ duo’s ‘Don’t Stop’. Meanwhile, ‘Ghost Trains’ by Erlend Øye was a livelier number that worked alongside chilled out tracks by THE GRID, BLISS, MARCONI UNION, SPOOKY and DEPECHE MODE.

‘Chilltronica – A Definition No1’ was released by Soundcolours

https://www.discogs.com/Blank-Jones-Chilltronica-A-Definition-No1/release/1714901

ELECTRI_CITY 1_2 Elektronische Musik Aus Düsseldorf (2016)

Tying in with the book about Düsseldorf’s music heritage, ‘ELECTRI_CITY 1_2’ gathered the more accessible elements of Deutsche Elektronische Musik, Kosmische and Neue Deutsche Welle. With RIECHMANN, DER PLAN, DIE KRUPPS, RHEINGOLD, DAF, LIAISONS DANGEREUSES, LA DÜSSELDORF, NEU! and pre-PROPAGANDA girl group TOPLINOS, this two volume collection was like a journey of discovery with the benefit of a local tour guide.

‘ELECTRI_CITY 1_2 – Elektronische Musik Aus Düsseldorf’ was released by Grönland Records

https://www.discogs.com/Various-ELECTRI_CITY-1_2/release/8919263

NEW ORDER Presents Be Music (2017)

Be Music was the moniker which NEW ORDER used to cover studio production work by all four members of the band. This boxed set gathered these varied recordings which involved them, with notable solo tracks from Marcel King, Paul Haig and Winston Tong alongside those of 52ND STREET, SECTION 25, THE BEAT CLUB, SHARK VEGAS and AD INFINITUM’s cover of ‘Telstar’ which many believed was NEW ORDER in disguise but actually only featured Peter Hook.

‘NEW ORDER Presents Be Music’ was released by Factory Benelux

https://www.factorybenelux.com/new_order_presents_be_music_fbn60.html

ELECTRICAL LANGUAGE Independent British Synth Pop 78-84 (2019)

The 4CD ‘Electrical Language – Independent British Synth Pop 78-84’ did as it said on the tin and with a far more accessible template, was all the better for it. With THE HUMAN LEAGUE, OMD, THE NORMAL and FAD GADGET included to draw in the more cautious consumer, purchasers were treated to a plethora of wonderful lesser known acts like FIAT LUX, BOX OF TOYS, LORI & THE CHAMELEONS, PASSION POLKA, TESTCARD F, EDDIE & SUNSHINE and JUPITER RED. Meanwhile, the best novelty item was a Schaffel driven cover of Alvin Stardust’s ‘My Coo Ca Choo’ by BEASTS IN CAGES; half of the band went on to form HARD CORPS!

‘Electrical Language – Independent British Synth Pop 78-84’ was released by Cherry Red Records

https://www.cherryred.co.uk/product/electrical-language-independent-british-synth-pop-78-84-various-artists-4cd-48pp-bookpack/

THE TEARS OF TECHNOLOGY (2020)

Compiled by Pete Wiggs and Bob Stanley of SAINT ETIENNE, ‘The Tears Of Technology’ gathered a heartfelt suite of music. OMD’s ‘Sealand’ sat alongside synthy diversions by THE TEARDROP EXPLODES and THE PALE FOUNTAINS, with the Merseyside connection extended to CARE and CHINA CRISIS. Scotland got also got a look in with Paul Haig and Thomas Leer. The rare ‘Direct Lines’ by Chris Payne’s ELECTRONIC CIRCUS found itself a place too.

‘The Tears Of Technology’ was released by Ace Records

https://acerecords.co.uk/bob-stanley-pete-wiggs-present-the-tears-of-technology-1

Text by Chi Ming Lai
2nd August 2020

30 Lost Art School Bops Of The Digital Era

29 September 2017 /

Here are 30 songs which may have escaped attention as the world went grunge and then had an ongoing hangover in the wake of Britpop.

Denied mainstream recognition and now lost when looking from a UK perspective even within the dwindling synth music community, these offerings come from artists who have mostly remained in total obscurity. However, some are highly established in their own right, albeit not necessarily within the electronic pop field while others have drifted away.

As with the 30 Lost Obscure Alternatives Of The 45 RPM Era feature, acts who have since been featured on ELECTRICITYCLUB.CO.UK like ARTHUR & MARTHA, DE/VISION, ONE DOVE, PEACH, WOLFSHEIM and YOUNGER YOUNGER 28s have not been included on this list.

Starting from 1992 when the CD established itself as the dominant format to the year before ELECTRICITYCLUB.CO.UK came into being, here are 30 Lost Art School Bops listed by year and then in alphabetical order…

VEGAS Walk Into The Wind (1992)

What happens when you cross FUN BOY THREE, EURYTHMICS and SHAKESPEARS SISTER? This lovely under rated electro-reggae tune featuring Terry Hall, David A Stewart and Siobhan Fahey! VEGAS was a one-off project when Hall and Stewart were between bands, with the former’s forlorn opening gambit of “You have to learn to love by loving” more than suiting the latter’s lush cinematic backdrop on the captivating noir of ‘Walk Into The Wind’.

Available on the album ‘Vegas’ via RCA Records

https://www.discogs.com/artist/1343740-Vegas-8

SVEN VÄTH L’Esperanza (1993)

Sven Väth is a Frankfurt based DJ whose his career started in 1982. Mixmag rated his album ‘Accident In Paradise’ one of the Top 50 dance albums of all time. From that, this synthpopped remix of its most accessible track ‘L’Esperanza’ recalled ‘Magic Fly’ by SPACE and captured the tranquillity of a swim with dolphins. The melodies sang despite the tune being totally instrumental while the groove drove along without being intrusive.

Available on the single ‘L’Esperanza’ via Eye Q / WEA Records

https://www.facebook.com/SvenVaethOfficial/

2WO THIRD3 Hear Me Calling (1994)

Hear Me Calling captured the spirit of early ultrapop DEPECHE MODE and even had CULTURE CLUB backing singer Helen Terry thrown into the mix of this infectiously catchy number. Although a publicly a trio, there was a silent fourth songwriting member who was represented by a cartoon character called Biff in the band’s promotional material. Biff was actually Richard Stannard who has since written songs for KYLIE MINOGUE, LITTLE BOOTS, MARINA & THE DIAMONDS and SPICE GIRLS.

Available on the single ‘Hear Me Calling’ via Epic Records

http://www.discogs.com/artist/2wo+Third3

INTASTELLA Grandmaster (1996)

INTASTELLA were formally indie rockers LAUGH, until they discovered singer Stella Grundy  and adapted their sound to a more dance-orientated style in a vein not dissimilar from fellow Mancunian’s HAPPY MONDAYS. Having had a minor hit with the SAINT ETIENNE flavoured cover of the FRANK VALLI Northern Soul favourite, the funkier electrovibe  of ‘Grandmaster’ was the follow-up and later featured on the soundtrack of the ‘9½ Weeks’ sequel ‘Love In Paris’.

Available on the album ‘What You Gonna Do’ via Planet 3 Records

https://www.facebook.com/Intastellastellagrundy/

INAURA Soap Opera (1996)

INAURA combined NINE INCH NAILS and DURAN DURAN, with the latter every much in mind when the band were signed to EMI. Produced by Steve Osborne, the metallic finish of ‘Soap Opera’ gave a rock edge to the electronically driven sound. But despite securing a support slot with THE HUMAN LEAGUE, the band got emboiled in internal record company politics with EMI actively trying to bury the band. The shelved album ‘One Million Smiles’ eventually secured an independent release in 1998.

Available on the album ‘One Million Smiles’ via ORG Records

https://www.discogs.com/artist/61052-Inaura

ORLANDO Just For A Second (1996)

Melody Maker’s Simon Price announced the arrival of a new scene of New Romantic revivalists, with a bold headline declaring “ROMO – The Future Pop Explosion!”; from these Romantic Modernists came ORLANDO who combined stylish, synthesized dance-pop with a love of classic songwriting. ‘Just For A Second’ was their best song, with elements of PET SHOP BOYS euphoric flavour as reimagined by the boy bands of the day, combined with an emotive lyrical backdrop.

Available on the album ‘Passive Soul’ via Blanco Y Negro Records

https://www.discogs.com/artist/125280-Orlando-4

MONO Life In Mono (1996)

MONO were Siobhan de Maré and Martin Virgo, who found their cinematic sound lumped in with trip hop movement that spawned SNEAKER PIMPS and PORTISHEAD. A mysterious Gallic flavour crossed with samples from John Barry’s soundtrack to ‘The Ipcress File’ provided the song’s spy drama chill. The track was later incorporated into a contemporary film adaptation  of ‘Great Expectations’ which starred Ethan Hawke, Gwyneth Paltrow and Hank Azaria. SPICE GIRLS’ Emma Bunton recorded a cover of it in 2006.

Available on the single ‘Life in Mono’ via Echo Records

https://www.discogs.com/artist/1564-Mono

SEXUS The Official End Of It All (1996)

Also seen as part of the Romo movement were SEXUS, a Manchester duo comprising of David Savage and Paul Southern  Signed by ZTT, ‘The Official End Of It All’ was their second single and recalled ELECTRONIC’s ‘Getting Away With It’. The pair recorded a full album with Trevor Horn but it remains unmixed and unreleased. The duo would later team up again musically under the name PSYCHODELICS.

Available on the single ‘The Official End Of It All’ via ZTT Records

http://www.psychodelicates.com/sexus.htm

BROADCAST Come On Let’s Go (2000)

The late Trish Keenan’s ice maiden cool was instrumental to BROADCAST’s cognoscenti appeal and with their experimental electronica, they won many fans among the cognoscenti. ‘Come On Let’s Go’ was their most accessible offering with its spy drama feel, vintage organic textures and Keenan’s sweet nonchalant vocal tones. Futuristic yet with a Cold War chill, this pushed all the tender buttons. The band were a favourite of Matt Groening, creator of ‘The Simpsons’.

Available on the album ‘The Noise Made By People’ via Warp Records

http://warp.net/records/broadcast

QUEEN OF JAPAN I Was Made For Loving You (2000)

QUEEN OF JAPAN were a colourful European trio consisting of singer Koneko alongside eccentric producers Jo Ashito and Jason Arigato. Specialising in dance covers of an incongruous origin like JOHN LENNON and QUEEN, their fun electronic sound took on a distinct sinister turn with this brilliant synthesized interpretation of rock legends KISS’ neo-discofied 1977 anthem. The track gained prominence after being included as part of 2 MANY DJ’s ‘As Heard On Radio Soulwax Part 2’ DJ set in 2003.

Available on the album ‘Headrush’ via Echohammer Records

http://www.queenofjapan.net

DOT ALLISON Substance (2002)

Following Ms Allison’s pop flavoured debut album ‘Afterglow’ in 1999 and prior to her ‘Aftersun’ collaboration with MASSIVE ATTACK, the former ONE DOVE vocalist experimented with some lo-fi electro sounds alongside some more folky acoustic excursions on her album ‘We Are Science’. Playing squelch games over stuttering percussive loops, Allison’s enigmatic breathy vocal style almost acts as another instrument in a mildly hallucinogenic dance fashion.

Available on the album ‘We Are Science’ via Mantra Recordings

http://www.dotallison.com

THE DEVILS Big Store (2002)

Before Nick Rhodes got involved in the full DURAN DURAN reunion, he and fellow founder member Stephen TIN TIN Duffy dusted off a few of the pre-Le Bon demos. The results show how avant pop the original DURAN DURAN concept was with Big Store sounding like Moroder crossed with Iggy Pop! With a camp cynical snarl of “I like going shopping …shopping in the big store”, how great this must have sounded at Barberella’s back in the day!

Available on the album ‘Dark Circles’ via Tape Modern Records

https://www.discogs.com/artist/214868-The-Devils

MANNEQUIN Take Me To The Club (2003)

Apparently based on true events, ‘Party Monster’ starring Macaulay Culkin, Seth Green and Chlӧe Savigny was effectively ‘Electroclash – The Movie’; ‘Take Me To The Club’, written and produced by Bruno Coviell, captured the tension and euphoria of nightlife. Electrofied slap bass and sinister sequences added some gothic grandeur to the aural hedonism. “I only feel right under bright lights… take me to the club” was the profound proclamation!

Available on the album ‘Party Monster’ (V/A) via TVT Soundtrax

https://www.facebook.com/partymonsterfan

SYNTAX Pray (2003)

‘I Feel Love’ meets THE PSYCHEDELIC FURS on this duo’s amazing debut single, SYNTAX consisted of Jan Burton and ex-FLUKE member Mike Tournier. The 8 minute full length version possessed a pulsing hypnotic quality while spacey Sci-Fi synths and full-fat sequences recalled a bygone disco age but updating the template for a new century. Dark but immensely danceable!

Available on the album ‘Meccano Mind’ via Illustrious/Sony Music

http://www.syntax.uk.com/

WHITE TOWN Whenever I Say Hello (2003)

WHITE TOWN aka Jyoti Mishra had a freak No1 hit with ‘Your Woman’ in 1997 but kept a low profile, carving out an independent musical career with little regard for public profile. Influenced by his heroes OMD and DEPECHE MODE, ‘Whenever I Say Hello’ first appeared on Ninth Wave’s ‘Electricity 2’ compilation and was the highlight of his album ‘Don’t Mention The War’, eventually released in 2006. A wonderful lonely paean to lost love, this does sound like ‘Things You Said’ reimagined for ‘A Broken Frame’.

Available on the album ‘Don’t Mention The War’ via Bzangy Records

http://www.whitetown.co.uk

DARREN HAYES I Like The Way (2004)

Sony Music were none too happy when the former SAVAGE GARDEN front man veered from his drippy ballads to go electro! ‘I Like The Way’ was the highlight from his album ‘The Tension & The Spark’, the title of which came from the chorus of this spiky piece of synthpop. Like ERASURE gone all aggressive if you can believe that, Hayes and Sony Music parted ways following this fuzzy excursion.

Available on the album ‘The Tension & The Spark’ via Sony Music

http://www.darrenhayes.com

VIC TWENTY Txt Msg (2004)

THE great lost act of the synthesizer revival has to be VIC TWENTY. Blowing away ERASURE while supporting them on their muted covers tour, Piney Gir and Adrian Morris showed promise with their cartoon-like girl/boy synthpop. One of the highlights in their live set was an ironic electronic reconstruction of ‘Sweet Child O’ Mine’. Released on Mute, ‘Text Msg’ was their only single as a duo, a quirky narrative of the modern generation who can only dump hapless lovers by mobile phone.

Available on the single ‘Txt Msg’ via Mute Records

http://www.victwenty.free-online.co.uk

DELAYS Valentine (2005)

After the succes of  THE KILLERS, indie bands were starting to embrace synths again and DELAYS almost went the full hog with this Trevor Horn assisted electronic disco number. The pulsing sequences and syncopated rhythm section were just pure DURAN DURAN, while Greg Gilbert’s raspy falsetto in the soaring chorus and choppy guitar ensured the band weren’t totally detached from their roots.

Available on the single ‘Valentine’ via Rough Trade Records

http://www.thedelays.co.uk

JULIET Avalon (2005)

Before he worked with MADONNA, NEW ORDER, THE KILLERS, KYLIE MINOGUE, TAKE THAT and PET SHOP BOYS, Stuart Price produced and co-wrote most of the only album by Philadelphia songstress Juliet Richardson. Driven by a heavy percussive mantra coupled to a deep bass rumble, her sultry soulful vocals worked well within the cool electro backing to provide a wonderful sexually charged atmosphere. Richardson is now a yoga teacher with a young family.

Available on the album ‘Random Order’ via Virgin Records

https://www.discogs.com/artist/93024-Juliet

THE MODERN Jane Falls Down (2005)

This promising band took the best of New Romantic thrill and a tight Stephen Hague production for a brilliant single with a killer chorus and solid beats, reinforced by a big reverberating bassline. Despite a support slot with HEAVEN 17, a chart scandal involving over enthusiastic management on their second single ‘Industry’ destroyed all momentum and the band retreated, re-emerging later as MATINEE CLUB before becoming THE MODERN again! Nathan Cooper has since reappeared as KID KASIO.

Available on the single ‘Jane Falls Down’ via Universal Music

https://www.themodernband.com/

LUKE HAINES Off My Rocker At The Art School Bop – Richard X Mix (2006)

Once referred to as the Adolf Hitler of Britpop by the music press, Luke Haines’ memoir ‘Bad Vibes: Britpop & My Part In Its Downfall’ suggested that BLUR’s Damon Alban deserved to be nominated for that title far more! An installation of danceable pop terrorism by THE AUTEURS and BLACK BOX RECORDER leader, with a full fat octave driven electro mix by Richard X, this gleefully satirised the Shoreditch club scene with a bitter attack on its array of poseurs.

Available on the single ‘Going Off My Rocker At The Art School Bop’ via Fantastic Plastic

http://www.lukehaines.co.uk

PROTOCOL Love Is My Drug (2006)

PROTOCOL had some Romo flair and despite being almost entirely based on ‘Atomic’ by BLONDIE, second single ‘Where’s The Pleasure?’ secured that all important radio play. But despite this, Polydor pulled the plug on their excellent follow-up ‘Love Is My Drug’ and the promising debut album ‘Rules Of Engagement’ despite sending out promos to the press and filming a promo video. Lead singer John Pritchard took another punt at stardom by participating in the 2013 series of ‘The Voice’.

Available on the album ‘Rules Of Engagement’ via https://protocoluk.bandcamp.com/

https://rkukmedia.co.uk/Protocol/

STEFY Chelsea (2006)

This was an excellent ‘Sweet Dreams’ pastiche from vocalist Stefy Rae and producer Jimmy Harry. Aimed at the teen pop market with its Orange County brat subject matter, ‘Chelsea’ was more sophisticated than it appeared and was probably three years ahead of its time. Co-written by the soon-to-be ubiquitous producer Greg Kurstin and accompanied by a video featuring an Adam West cameo, if this had come out in 2009, it probably would have been a Top 10 hit.

Available on the album ‘The Orange Album’ via Wind-Up Records

https://www.discogs.com/artist/558653-Stefy-2

DEAD DISCO You’re Out (2007)

Victoria Hesketh before she was LITTLE BOOTS, she came to together with Lucy Catherwood and Marie France at Leeds University to produce a series of well-received spikey pop numbers before splitting. Their final single ‘You’re Out’ was produced by Greg Kurstin and the start of a more electronic sound in the mix. Treated guitars, fuzzy bass and subtle synths all merged together in a feisty cocktail and the seed of the raw excitement found its way into songs like ‘Meddle’.

Available on the single ‘You’re Out’ via 679/Atlantic Records

https://www.discogs.com/artist/526693-Dead-Disco

FROST Sleepwalker (2007)

Consisting of Aggie Peterson and Per Martinsen, FROST have described their music as upbeat space-pop.  This was beautiful electronic dance music from the enigmatic Norwegian duo with Peterson’s soaring soprano and the gorgeous synth vibrato putting minds into a marvellous trance. ‘Sleepwalker’ was the sort of song you would want to play at a rave in the snow! their cool cover of OMD’s ‘Messages’, from the ‘Love! Revolution’ album which ‘Sleepwalker’ came, is also a worthy listen.

Available on the album ‘Love! Revolution!’ via Frost World Recordings

http://www.frostworld.no

HEARTBREAK We’re Back (2008)

Italo disco was a much maligned form of electro kitsch but was rooted in GIORGIO MORODER which eventually influenced NEW ORDER and PET SHOP BOYS; Anglo-Argentine duo HEARTBREAK revived the genre, complete with accents, “wo-woah-ah” chants and heavy dance rhythms. On great catchy songs such as ‘We’re Back’, the sweaty impassioned charisma of vocalist Sebastian Muravchik was more than convincing while Ali Renault provided the meaty electronic backing.

Available on the album ‘Lies’ via Lex Records

http://lexprojects.com/releases/heartbreak-lies/

POLARKREIS 18  The Colour Of Snow (2008)

The Dresden sextet were a dreamy but epic cross between A-HA and SIGUR RÓS. Singer Felix Räuber’s falsetto voice polarised but the frantic driven tempo, dramatic electronic strings and rousing melancholic chorus of ‘The Colour Of Snow’ made it a fine follow-up their German No1 ‘Allein Allein’ and gave the band enough of a reputation to be invited to support DEPECHE MODE at their Leipzig gigs in 2009.

Available on the album ‘The Colour of Snow’ via Vertigo Records

http://www.polarkreis18.de

RED BLOODED WOMEN You Made Your Bed (2008)

Pure octave shift disco heaven on this ode to the IKEA generation by modern electronic take on BANANARAMA. Despite being all under 25, these three ladies grew up to the sound of the synthesizer and learned to dance to the beat of electronic drums via their mothers’ ERASURE and A-HA singles. Paying girl group homage to both YAZOO and DEPECHE MODE, RED BLOODED WOMEN sounded not unlike GIRLS ALOUD produced by Daniel Miller!

Available on the album ‘Electronically Yours Vol 1’ (V/A) via Undo Records

https://www.discogs.com/artist/1202070-Red-Blooded-Women

KATSEN Florian (2009)

KATSEN were a short lived Brighton duo comprising of Donna Grimaldi and Chris Blackburn who crossed CRYSTAL CASTLES with YELLOW MAGIC ORCHESTRA for their own brand of quirky synthpop. ‘Florian’ with its mournful melodica line inspired by ‘Kommetenmelodie 2’ was yet another in a tradition of songs dedicated to the enigmatic quiet man of KRAFTWERK which have included ‘V2 Schneider’ and ‘Rolf & Florian Go Hawaiian’ (sic).

Available on the album ‘It Hertz!’ via Thee Sheffield Phonographic Corporation

http://katsen.com/

SPUTNIKO! The Google Song (2009)

SPUTNIKO! (real name Hiromi Ozaki) showcased her brand of laptop pop around London where she was based. “Exploring intersections between technology and popular culture” as reflected by titles such as ‘The Skype Song’ and ‘The Mixi Song’, her most immediate track has been ‘The Google Song’, a story of love in the modern computer age. Too shy to approach the object of her desire, she simply went home to her faithful laptop and googled him!! “I like you” she proclaimed. It was tremendously catchy too!

Available on the DVD ‘Parakonpe 3000’ via 360° Records

http://sputniko.com/

Text by Chi Ming Lai
29th September 2017

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