Following the success of ‘An Evening With The Swedish Synth’ last March, Nordic friendly blog Cold War Night Life have announced their next live event ‘A Secret Wish’ on SUNDAY 19TH APRIL at The Lexington in London.
No2 in an occasional live series, the event again has a Swedish flavour and is headlined by SISTA MANNEN PÅ JORDEN (SMPJ).
Also on the bill are VILE ELECTRODES while making a special DJ appearance will be acclaimed producer John Fryer.
‘An Evening With The Swedish Synth’ was one of the best of the best live events of 2014 and a fine example of what could be achieved when an electronic event was actually curated by an electronic music enthusiast. With the dedication and care that Cold War Night Life take with their projects, ‘A Secret Wish’ promises to be one of the must attend events on the synthesizer calendar.
Simon Helm of Cold War Night Life kindly chatted to ELECTRICITYCLUB.CO.UK about his website, his love of all things Nordic and ‘A Secret Wish’…
What would you say is the ethos of the Cold War Night Life blog?
The site’s tagline is “electronic music and culture”, but we’ve covered everything from Moog50 to 23 SKIDOO via William Orbit’s spoken word show.
If it’s good, it is worth talking about, so we are open to a guitar artist like JENNIE VEE but don’t cover most EDM.
That said, when a DJ like Sandra Mosh does something special, we’re there. From the beginning, it has been inspired by little touches: the care that Vinyl-on-Demand put into their box sets.
How did you get into electronic pop music?
KRAFTWERK’s ‘Autobahn’ and ABBA’s ‘Voulez-Vous’ were milestones, but Gary Numan performing ‘Cars’ on ‘Saturday Night Live’ in 1979 turned everything upside down. When JOHN FOXX’s ‘Metamatic’ and OMD’s ‘Organisation’ arrived, there was no turning back. As a teenager, I started working in record shops, managing a local synth band, producing a cable TV show and writing about the music that was coming from Europe. To this day, I can’t recognise Top 40 hits from the commercial radio of that time, because I was so wrapped up in the sounds on the first two HUMAN LEAGUE albums.
Cold War Night Life is named after the debut album of Canadian band RATIONAL YOUTH. Why has this particular band inspired you and how do you equate their standing in the history of synthpop?
RATIONAL YOUTH are from Montréal, which is the most European of Canadian cities and was the first to absorb the synth music of the 70s, like KLAUS SCHULZE and CLUSTER. It was the right place for a couple of electro-pioneers to find each other. When RATIONAL YOUTH released ‘Cold War Night Life’ in 1982, they were easily on the same plane as OMD, John Foxx or DEPECHE MODE.
Bill Vorn had a System 100 and Tracy Howe programmed sequencers using equations, but their songwriting was also world-class.They were on a tiny local label, so they didn’t have the commercial reach they deserved, but wherever the record landed, it launched more bands. When RATIONAL YOUTH toured Sweden last year, hundreds of people were singing along in three different cities, which all grew from one person getting a vinyl copy in 1982 and copying it for friends – a rare example of home taping nurturing music. The choice of name was in tribute to the legacy of that record and the spirit that created it.
Canada is doing very well with new electronic acts such as AUSTRA, GRIMES, TRUST, PURITY RING, ELECTRIC YOUTH, CHROMEO and LOLA DUTRONIC. What do you think of these artists?
It’s great that there are so many new artists coming through – and not just followers of RUSH and NICKELBACK! I actually learn about a lot of these bands through TEC, but the one that both confounds and interests me most is TR/ST.
How did you get into the Swedish side of things?
I did a university degree in Stockholm and discovered a vein of music that is still to be mined properly. Bands like RATATA and NASA made amazing music but are not well known outside of the country. They lived in ABBA’s shadow. We have some great Swedish contributors, who are enthusiastic about music and sharing their discoveries. It means that we get can get a story about a new band that has just debuted at a local café, which can be more interesting than a report on the most recent tour by a big name act.
I’ve been asked this question… so what’s so special about Sweden then, and which acts do you rate?
The Swedish synth scene is incredibly loyal. It hasn’t changed with fashion, so it has been possible for artists to grow together with the scene. That has given a long life to acts like LUSTANS LAKEJER, TWICE A MAN and PAGE, while fostering terrific artists like ALISON, EMMON, JULIAN & MARINA and THERMOSTATIC. The bands that Eddie Bengtsson has written for are all very special, because his songs are so good: PAGE, S.P.O.C.K. and SISTA MANNEN PÅ JORDEN. KORD and ACUTE ONSET are two current acts I’d love to see live.
Cold War Night Life’s first live event was ‘An Evening With The Swedish Synth’ with PAGE, MACHINISTA and TRAIN TO SPAIN. How do you look back on that event and how it was received?
The idea was to give Londoners a view of the current Swedish scene and a chance to connect with it. PAGE are still very current, but originally go back to the early 1980s. MACHINISTA and TRAIN TO SPAIN represent the new generation. The event was successful: TRAIN TO SPAIN got picked up by a label on the night, while a lot of musicians checked it out. The local crowd was very welcoming, which gave it a good vibe.
Your next event ‘A Secret Wish’ has a Swedish flavour in SMPJ but also, looks closer to home with VILE ELECTRODES and John Fryer? Were there any particular reasons for the change in concept?
John Fryer lives in Oslo, so we couldn’t pair him with SMPJ and call it a Swedish Synth event. VILE ELECTRODES are perfect to match with SMPJ, because they are fearless and have immaculate analogue credentials.
How did you come to your chosen line-up?
John Fryer made ‘Speak & Spell’ and ‘A Broken Frame’ – he sat in the studio with Eric Radcliffe and Daniel Miller, working out how to get the sounds on tape in that magical way. He also produced FAD GADGET and COCTEAU TWINS. John’s DJ set is going to focus on his work for 4AD and Mute. When a member of THIS MORTAL COIL is playing the music he has worked on at two of the most distinctive labels, in his own mix, you know it’s going to be special.
SMPJ are legendary in Sweden, because their music is so catchy. Their sound is somewhere between GIORGIO MORODER and SPACE, rebooted for the 21st century. VILE ELECTRODES are a great fit, and they showed at TEC003 that there is really no-one in the UK who can touch them. The secret wish is to see them all on the same stage.
For those who are undecided, what can they expect from ‘A Secret Wish’?
Half-decent music. OK people. Alright beer. Some understatement.
Any chance of Cold War Night Life’s playing host RATIONAL YOUTH for No 3 in your occasional live series?
I would love to see RATIONAL YOUTH in London, and would be happy to be a part of making that happen.
What next for Cold War Night Life or yourself in terms of music related projects?
There is a RATIONAL YOUTH tribute album in the pipeline. The main focus, of course, is on sharing the stories that go with the music.
‘A Secret Wish’ featuring SISTA MANNEN PÅ JORDEN, VILE ELECTRODES + John Fryer takes place on SUNDAY 19TH APRIL 2015 at The Lexington, 96-98 Pentonville Road, London N1 9JB. Doors open at 6.00pm
ELECTRICITYCLUB.CO.UK celebrates its fifth anniversary and it has been a glorious journey.
The site came into being on 15th March 2010 after the founding team discussed having an online platform to feature the best in new and classic electronic pop music. After weeks of deliberation, the decision to finally launch the site came at the HEAVEN 17 aftershow party for their triumphant gig at The Magna Science Park on 6th March 2010.
That evening, ELECTRICITYCLUB.CO.UK met and chatted with HEAVEN 17’s Glenn Gregory and Martyn Ware, OMD’s Paul Humphreys and Claudia Brücken, best known as the singer of PROPAGANDA… by the end of the year, all four had given insightful interviews to the site.
ELECTRICITYCLUB.CO.UK received a major boost in profile in May 2010 when its interview with Paul Humphreys was quoted by The Guardian as part of a news item announcing the release of OMD’s comeback album ‘History Of Modern’.
Key interviews with DUBSTAR and CLIENT’s Sarah Blackwood, LANDSCAPE’s Richard James Burgess, THE ART OF NOISE’s Gary Langan and ULTRAVOX’s Warren Cann also followed. Later in the year, ELECTRICITYCLUB.CO.UK featured promising new act VILE ELECTRODES for the very first time; they were soon to become a stalwart of the UK independent electronic scene.
But the first act to formally be reviewed was MARINA & THE DIAMONDS, reflecting the kooky female fronted keyboard based pop like LA ROUX, LITTLE BOOTS, LADYHAWKE and LADY GAGA that was prevalent at the time. However, there was a changing of the guard on the horizon as new astute male fronted electronic based acts such as HURTS, VILLA NAH and MIRRORS appeared which the site took a keen interest in.
ELECTRICITYCLUB.CO.UK has always prided itself in asking the questions that have never usually been asked, but which fans want to know the answers to. And it was with this reputation for intelligent and well researched interviewing that the site was granted its biggest coup yet when it spoke to NEW ORDER’s Stephen Morris. In the ensuing chat, Morris cryptically hinted that Manchester’s finest would return… and that is exactly what happened in Autumn of that year when concerts in aid of the band’s late friend Michael Shamberg were announced.
ELECTRICITYCLUB.CO.UK was on a roll in 2011 as OMD’s Andy McCluskey, RECOIL mainman Alan Wilder, BLANCMANGE’s Neil Arthur, Mira Aroyo of LADYTRON, HOWARD JONES, THOMAS DOLBY and DRAMATIS’ Chris Payne all gave interviews. And in rather bizarre throwback to 1981, DURAN DURAN, THE HUMAN LEAGUE and JOHN FOXX released new albums on the same day in March. Meanwhile, up-and-coming acts such as AUSTRA, SOFT METALS, ELEVEN: ELEVEN and QUEEN OF HEARTS made a good first impression.
Events like ‘Return To The Blitz Club’, ‘Short Circuit Presents Mute’, ‘Back To The Phuture – Tomorrow Is Today’, ‘The Electronic Phuture Revue’ and the BEF Weekender reinforced the new found profile for music seeded from the Synth Britannia era and kept the team busy. ELECTRICITYCLUB.CO.UK even found time to curate its own live event featuring VILE ELECTRODES.
2012 paled in comparison after such a fruitful year and several acts who were featured probably would not have gained as much coverage in more competitive periods.
But the year did unearth talents such as CHVRCHES, GAZELLE TWIN, GRIMES, KARIN PARK, TRUST, METROLAND and IAMAMIWHOAMI who were eventually make a lasting impact. During this time though, MIRRORS sadly lost momentum and appeared to wind down after the departure of founder member Ally Young while VILLA NAH mutated into SIN COS TAN.
Ahead of ULTRAVOX’s recorded return with ‘Brilliant’, Billy Currie spoke to ELECTRICITYCLUB.CO.UK and MARSHEAUX headlined a sold out second event with The Blitz Club’s legendary DJ Rusty Egan as its special guest. EDM was also becoming big news internationally. But ELECTRICITYCLUB.CO.UK stood its ground and showed little interest in this largely repetitive sub-genre as parties within the industry desperately tried to centralise synthpop and dance music with misguided promotional campaigns such as ‘Electrospective’. It was quite obvious the industry was struggling to come to terms with a changing marketplace, as well as failing to distinguish between dance music and electronic pop.
Contrary to general perception that music using synthesizers was 80s, ELECTRICITYCLUB.CO.UK maintained a stance that electronic pop music didn’t start in that decade and certainly didn’t end there either. In fact, there was even an editorial diktat that banned its writers from using that horrific and lazy term of reference.
80s is neither an instrumentation style or a genre of music… tellingly, several PR representatives told ELECTRICITYCLUB.CO.UK that one of the site’s main appeals was that it avoided the whole nostalgia bent as represented by events such as ‘Here & Now’ and other media, both virtual and physical.
What ELECTRICITYCLUB.CO.UK did in 2013 would take up a whole article in itself… 2013 turned out to be one of the best years for electronic pop since 1981. Interviews with ALISON MOYET, GARY NUMAN, KARL BARTOS, MARNIE, ADULT. and MISS KITTIN confirmed the site’s impact. There was even a radio show with Rusty Egan which ran for 25 programmes on dance station Mi-Soul.
Meanwhile new releases from OMD, NINE INCH NAILS, BEF, PET SHOP BOYS, GOLDFRAPP, MESH, MARSHEAUX, SIN COS TAN, POLLY SCATTERGOOD and VISAGE reflected the vibrancy of the modern electronic scene.
But the biggest recognition of how influential the site had become was when VILE ELECTRODES were chosen to support OMD after being spotted by Andy McCluskey while he was perusing the site’s webpages.
Over the years, ELECTRICITYCLUB.CO.UK has written about a number of talents whose promise was never fully realised despite producing great music… THE SOUND OF ARROWS, SUNDAY GIRL, KATJA VON KASSEL and THE VANITY CLAUSE all featured several times, but timing and in the cases of the first three, record company interference stifled potential. Whether signed or independent, nothing can be guaranteed in the today’s music world.
Although the year started tremendously with an invitation to ELECTRICITYCLUB.CO.UK to meet KARL BARTOS and WOLFGANG FLÜR in Cologne, 2014 suffered next to quality of 2013.
But more key figures from the Synth Britannia era were interviewed including MIDGE URE, ex-CABARET VOLTAIRE frontman Stephen Mallinder and the often forgotten man of the period JO CALLIS, who was a key member of THE HUMAN LEAGUE during their imperial phase.
For the 25th Anniversary of DEPECHE MODE’s ‘101’, Alan Wilder spoke exclusively to ELECTRICITYCLUB.CO.UK about how that live document became a major game changer for the band. And at his autobiography launch in London, Bernard Sumner revealed that NEW ORDER’s next album would be more electronic than the band’s last couple of offerings. Meanwhile, SUSANNE SUNDFØR’s various collaborations with RÖYKSOPP and KLEERUP enhanced her profile in readiness for ‘Ten Love Songs’, her most accomplished work yet. Also riding high were Glasgow’s ANALOG ANGEL with their third album ‘Trinity’ and a support tour with Swedish veterans COVENANT in 2015 was their reward.
The live circuit was vibrant and there was a third event which had a DEPECHE MODE flavour thanks to tribute band SPEAK & SPELL playing ‘Speak & Spell’ and ‘101’ sets. There was also a DJ set by Sarah Blackwood plus a special memorabilia exhibition curated by Deb Danahay, co-founder of the first official DM Information Service. At the same event VILE ELECTRODES celebrated the first anniversary of their debut album ‘The future through a lens’ having snapped up two Schallwelle awards in Germany for ‘Best International Album’ and ‘Best International Artist’.
As 2015 settles in, highly regarded acts within the electronic community continue to engage with The Electricity Club. German trio CAMOUFLAGE used an edit of ELECTRICITYCLUB.CO.UK’s career retrospective on the band as liner notes for their CD ‘The Singles’. Meanwhile studio legend John Fryer, who worked with FAD GADGET, DEPECHE MODE, COCTEAU TWINS and NINE INCH NAILS, also stopped by for a chat as did BLANCMANGE’s Neil Arthur, securing a site record with his fourth interview for the site.
Newer artists over the last few years as varied as FEATHERS, KID MOXIE, HANNAH PEEL, I AM SNOW ANGEL, TWINS NATALIA, NIGHT CLUB, PAWWS, MACHINISTA, QUIETER THAN SPIDERS, PRIEST and TRAIN TO SPAIN have proved that electronic music is still very much alive. ELECTRICITYCLUB.CO.UK appears to have reflected the interests of people who love the Synth Britannia era and have a desire to hear new music rooted in that ilk. 🙂
While things cannot carry on for ever, there is a belief that there is much more excellent music still to be created and discovered.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to all who have contributed over the last five years, be they writers, musicians, commentators, photographers, artists or models And a big thank you to everyone who has taken the time read an article on the site
In the five years since its formation on 15th March 2010, ELECTRICITYCLUB.CO.UK has reviewed over 100 albums and EPs.
During this time, the album has become less of an artistic statement, with the focus of both consumer and media on single songs directly led to the prominence of the extended EP or mini-album in today’s digital marketplace.
It is a halfway house, but at least the creative output of an artist can be showcased by a small body of work. And increasingly, many are combining and reworking several EP releases in order to formulate a full length album. Despite the move towards downloads and streaming, there is still a demand for physical product.
However, ELECTRICITYCLUB.CO.UK has been slightly bemused by the music industry bias towards vinyl, to the neglect of CD. It should be noted that silver digital discs are still the preferred medium for the general consumer, as proven by the million plus sales of TAYLOR SWIFT’s ‘1989’ opus on CD. This was a release which was confined to compact disc and digital download variants with no concessions towards streaming and, initially in the first few months of release, vinyl.
ELECTRICITYCLUB.CO.UK confesses it has no love whatsoever for vinyl in the 21st Century, and is rather irritated by it being turned into an antiquated object of fetish and snobbery which bears little relation to the music on it.
And to think ironically that the world’s record labels tried to kill off vinyl back in 1989 in favour of err… cassette! Yes, the music industry… as forward thinking as ever!! With regards Spotify, ELECTRICITYCLUB.CO.UK actually is not particularly fond of that either…
Even with the subscription model, with so much music available, most of it is not listened to properly, thus devaluing any music that is perhaps worthy of greater recognition. Think of it like the casual music festival goer who just hops between all the acts playing on the many different stages after just two songs… it’s a false economy in reality!
But despite its concerns, ELECTRICITYCLUB.CO.UK still loves a good album in whatever format. It is the content that is most important, not the mode of carriage. So which long players still stand up to scrutiny and can claim to have lasted the course over the last five years? Listed by year then alphabetical order, with a restriction of one album per artist and no recent releases from 2015, here are our 30 favourite albums from the period between 2010 to 2014…
GOLDFRAPP Head First (2010)
Although now disowned by the duo, ‘Head First’ was Alison Goldfrapp finally all relaxed and having fun. Stomping synth tunes like ‘Alive’, ‘Believer’ and ‘Believer’ were fine examples of Ms Goldfrapp taking her Olivia Newton John fixation (which had been apparent on early B-side ‘UK Girls’ with its interpolation of ‘Physical’) to a fully realised musical level. But best of all though on this short and sharp collection were the marvellous ABBA tribute of the ‘Head First’ title track and the ethereal ARP laden Eurodisco of ‘Dreaming’. While the more recent ‘Tales Of Us’ has seen GOLDFRAPP venture into more cinematic orchestrations again, a return to electronic pop is always possible with Ms Goldfrapp’s record of chameleon-like tendencies.
‘Head First’ is available as a CD, LP and download via Mute Records
One of the best electronic albums to have been released in 2010, ‘Origin’ was a fine crystalline balancing act that combined the classic synthpop of days gone by, with the freshness of new technologically fuelled dance music. The songs of the Helsinki based duo Juho Paolosmaa and Tomi Hyyppä ranged from the supreme GARY NUMAN on Prozac of ‘Remains Of Love’ and ‘Ways To Be’, to the Moroder-esque hypnotism of ‘Kiss & Tell’. Then there were the OMD influences on ‘Some Kind Of Dream’ and ‘Envelope’ so it was not entirely surprising the pair were invited to support than band on their 2010 tour. But while VILLA NAH then went into hiatus, Paolosmaa partnered up with ‘Origin’ co-producer Jori Hulkkonen to form SIN COS TAN.
‘Origin’ is available as a CD, LP and download via Keys Of Life Records
The baroque electronic trio of Katie Stelmanis, Maya Postepski and Dorian Wolf successfully broke away from the short lived Witch House sub-genre to yield their own emotionally charged sound. The moodily enigmatic ‘Beat & The Pulse’ and the frankly bonkers ‘Lose It’ had already gained a worthy amount of attention as singles and luckily, AUSTRA’s debut album did not disappoint. The tremendously epic spectre of ‘The Villain’ successfully utilised programmed technology and live drums while the sexual tension of ‘Spellwork’ was like a gothic opera crossing THE KNIFE with DEPECHE MODE that provided their most overtly synthpop offering.
‘Feel It Break’ is available as a CD, LP and download via Domino / Paper Bag Records
Since the return of the classic line-up in 2004, DURAN DURAN’s new material had general failed to meet expectations. However, despite losing guitarist Andy Taylor on the way, the Mark Ronson produced ‘All You Need Is Now’ saw DURAN DURAN reclaim their quintessential sound. The superb glitterball rework of ‘Are Friends Electric?’ for the title track signalled their intentions while ‘Girl Panic’ and ‘Runaway Runaway’ captured classic Duran for the 21st Century. The superb sequencer assisted ‘Being Followed’ had a tingling metallic edge that captured the tensions of post 9/11 paranoia while songstress KELIS dreamily counterpointed on the moody, string laden ‘Man Who Stole A Leopard’ which recalled ‘The Chauffeur’. Nick Rhodes claimed the album was “undoubtedly one of the strongest of our career”; and he was right!
‘All You Need Is Now’ is available as a CD and download via Tape Modern
‘Interplay’ was possibly JOHN FOXX’s most complete and accessible body of work since his classic ‘Metamatic’. Together with Chief Mathematician and synth collector extraordinaire BENGE aka THE MATHS, the use of vintage electronics with modern recording techniques captured a mechanised charm while simultaneously adding a correlative warmth. Among the realised examples of this fresh approach were the feisty ‘Catwalk’, the electro-folkisms of ‘Evergreen’ and the eerie ‘The Running Man’. One of the stand-out tracks ‘Watching A Building On Fire’ featured Mira Aroyo of LADYTRON and was perfectly dystopian, while the title track and closer ‘The Good Shadow’ both added a subtle atmospheric quality to proceedings.
‘Interplay’ is available as a CD, LP and download via Metamatic Records
MAISON VAGUE’s ‘Synthpop’s Alive’ was one of the surprise albums of 2011 and the creation of Clark Stiefel, a German domiciled American with a love for all things Synth Britannia. A classically trained virtuoso who studied piano and electronic music at a conservatoire, his title track battle cry sounded like the result of an unlikely sexual liaison between DEVO and PLACEBO. Chunky riff laden tracks such as ‘Pixelated Lover’, ‘My Situation’, ‘Living On Ice Cream’ and ‘Give Them Away’ affectionately revived The GARY NUMAN Principle but for some variation, there were the marvellous BETTE MIDLER gone electro of ‘No Show’ and the reggae inflected ‘Tunnel Vision’.
‘Synthpop’s Alive’ is available as a download album via Stiefel Musik
Brighton pop-noir quartet MIRRORS’ only album ‘Light & Offerings’ was a seamless majestic journey swathed in layers of vintage electronics and modern rhythmical dynamics. It began with superb sonic pulsar of ‘Fear Of Drowning’ with its dramatic overtures of young manhood before continuing with reworked recordings of the band’s excellent first two singles ‘Look At Me’ and ‘Into The Heart’. The sublime ‘Hide & Seek’ was soulful electronic pop while ‘Ways To An End’ proved MIRRORS could cut it on the dancefloor too. Elsewhere, ‘Somewhere Strange’ took the listener on the most euphoric train ride since NEW ORDER’s ‘Temptation’ while the final track ‘Secrets’ was an ambitious ten minute epic in three movements featuring its own ambient parenthesis. MIRRORS were worthy successors to the original Synth Britannia generation, but they sadly fragmented in Autumn 2011 and all momentum was lost before things really could get going.
‘Lights & Offerings’ is available as a CD, 2LP and download via Skint Records
With the critically acclaimed ’Visions’, Montreal’s GRIMES aka Claire Boucher explored a hybrid style of electro influenced by K-Pop, New Age and R ‘n’ B. ‘Genesis’ was one of many kookily inventive tunes on the album and like its close cousin ‘Oblivion’, played with Kling Klang derived rhythm section that came over like LYKKE LI fronting KRAFTWERK. Often using pentatonic scaling to show her affinity towards South East Asian culture, GRIMES’ sumptuously infectious approaches made tracks such as ‘Be A Boy’, ‘Colour of Moonlight (Antiochus)’ and ‘Vowels = space and time’ an aurally challenging but rewarding listen. And all this while retaining a quirky sense of humour in her promo videos…
‘Visions’ is available as a CD, LP and download via 4AD Records
While technically a stopgap compilation of rare and unreleased MARSHEAUX tracks, the ‘E-Bay Queen Is Dead’ collection did provide a mostly cohesive listening experience. Including a plethora of non-album tracks such as ‘How Does It Feel?’, ‘Sadly’, ‘Fischerprice’ and the FRONT 242 influenced ‘Bizarre Love Duo’, MARSHEAUX’s charmingly delightful synthpop covers of THE HUMAN LEAGUE’s ‘Empire State Human’, BILLY IDOL’s ‘Eyes Without A Face’ and OMD’s ‘She’s Leaving’ were also largely present and correct. Meanwhile, two uptempo outtakes from the ‘Inhale’ sessions ‘Do You Feel?’ and ‘Inside’ indicated where their fourth album might have headed had MARSHEAUX’s national surroundings been less economically turbulent.
Although METROLAND have little in common with GIRLS ALOUD, they are indeed The Sound Of The Underground. While highly influenced by KOMPUTER and KRAFTWERK, the single ‘Enjoying The View’ indicated METROLAND were more textural in their use of synthetic sequences, robotic vocals and vintage drum machines. With tributes to London Underground map designer ‘Harry Beck’, Kling Klang homages such as ‘It’s More Fun To Commute’ and a cover version of IGGY POP’s ‘The Passenger’ that has to be heard to be believed, METROLAND’s soundtrack provided a ride through an electronic landscape designed for the commuter world.
‘Mind The Gap’ is available as a CD, deluxe 2CD and download via Alfa Matrix Records
Having worked together on the ‘Origin’ album, a side project between VILLA NAH’s Juho Paalosmaa and ace producer Jori Hulkkonen was almost inevitable. Under the moniker of SIN COS TAN, their debut album impressed with a rich filmic quality permeating amongst all the synths and drum machines in a much more mature approach than had been apparent on ‘Origin’. There was plenty of variation too, from the dark, atmospheric space ballad ‘In Binary’ and laid back electro R’n’B of ‘Book Of Love’ to the NEW ORDER styled dream attack of ‘After All’ and the almost Balearic ‘Calendar’. But true to form with Hulkkonen’s intelligent disco manoeuvres, the beat templates were complimentary and never overbearing. And with the sublime “disco you can cry to” closer of ‘Trust’, SIN COS TAN’s place in electronic music has been assured.
‘Sin Cos Tan’ is available as a CD, LP and download via Solina Records
A release that actually slipped under TEC’s radar on initial release, TRUST was the project of Robert Alfons and AUSTRA’s Maya Postepski. Although Postepski left after its release to return to AUSTRA, ‘TRST’ made a slow burning impact as Alfons toured his “Eeyore gone goth” electro template around the world. The filthy ‘Gloryhole’ was a wondrous combination of portamento and dance beats, while ‘Bulbform’ was perfectly doomy disco. There were more immediate moments too like the trancier synthscapes of ‘Sulk’ and the alternate Euro-disco of ‘Dressed In Space’ which came over like a more depressed version of CAMOUFLAGE. In all, ‘TRST’ was one grower of a record.
‘TRST’ is available as a CD, LP and download via Arts & Crafts
‘Brilliant’ reminded people why the classic line-up of ULTRAVOX were supreme when firing on all cylinders. It also laid to the rest, the ghost of the dreadful ‘U-Vox’ album in 1986. The title track and ‘Live’ contained all the hallmarks of Billy Currie’s Eurocentric piano and synth embellishments complimented by the motorik power house of Chris Cross and Warren Cann while Midge Ure’s voice now possessed a fragility and honesty that could only come from life experience. Then there was the pounding electronic rock of ‘Satellite’ and the percolating sequences of ‘Rise’ which saw the return of Currie’s distinctive ARP Odyssey soloing. The whirring Odyssey also appeared on ‘Change’ with beautiful ivory runs over the shuffling schlagzeug. ‘Brilliant’ was proof than while Billy Currie needed Midge Ure, Midge Ure also needed Billy Currie.
‘Brilliant’ is available as a CD, 2LP and download via EMI Records
If people can still hold enough regard for a version of KRAFTWERK featuring just Ralf Hütter to crash the websites of the world’s art spaces, then KARL BARTOS should at least be accorded some kind of equal status. After all, Bartos did co-write ‘The Model’, ‘The Robots’, Neon Lights, ‘Numbers’ and ‘Computer Love’. Utilising musical sketches and ideas gathered during his period with KRAFTWERK and his later project ELEKTRIC MUSIC, ‘Off The Record’ was a fully realised recording with Kling Klang at its heart. Indeed, ‘Without A Trace Of Emotion’ saw Bartos conversing with his showroom dummy Herr Karl and confronting his demons. The punchy ‘Rhythmus’ revisited ‘Numbers’ and ‘Computer World 2’ while the wonderful ‘Hausmusik’ had its clanking core driven by the type of mechanised backbeat heard on the ‘Autobahn’ and ‘Radio-Activity’ albums. Even using ideas gathered prior to 1996, KARL BARTOS produced a classic but modern electronic pop album.
‘Off The Record’ is available as a CD, LP and download via Bureau B
BEF Music Of Quality & Distinction Volume 3 – Dark (2013)
The third instalment to Martyn Ware’s ambitious BEF covers project, amongst its fourteen tracks was some of his most overtly electronic work since he was in THE HUMAN LEAGUE. Kim Wilde’s brilliant opener ‘Every Time I See You Go Wild’ used just a Roland System 100 while the GIORGIO MORODER meets SPACE electro disco of ‘Same Love’ featuring David J Roch was another highlight. Other notable vocalists included ERASURE’s Andy Bell on an eerie take of ‘Breathing’, POLLY SCATTERGOOD’s kooky vocal on ‘The Look Of Love’ and CULTURE CLUB’s Boy George whose interpretation of ‘I Wanna Be Your Dog’ possessed a previously unheard grouchy edge. But it was a slowed down waltz remake of ASSOCIATES’ ’Party Fears Two’ voiced by HEAVEN 17’s Glenn Gregory that virtually stole the show and brought the hankies out.
‘Music Of Quality & Distinction Volume 3 – Dark’ is available as a CD, deluxe 2CD and download via Wall Of Sound
Like it or not, CHVRCHES have managed to attain a mainstream recognition that was denied to MIRRORS, thus furthering the cause of electronic pop worldwide. And in Lauren Mayberry, they have a sweet voice that counterbalances some of the harsher aural aesthetics that come with using Moog and her sisters. This album was full of quality synthpop with excellent songs such as ‘The Mother We Share’, ‘Science / Visions’, ‘Gun’, ‘Lies’ and ‘Recover’. However, an otherwise great debut was spoilt by Martin Doherty’s dreary blokey ramblings on ‘You Caught The Light’ and ‘Under The Tide’… and with the far superior ‘Now Is Not The Time’ sitting on the B-side bench, it is this type of noted Glaswegian bloody mindedness that will be the Achilles’ Heel to this trio achieving further success.
‘The Bones Of What You Believe’ is available as a CD, LP and download via Virgin Records
While claims that FEATHERS were the female DEPECHE MODE may have perhaps been overstated, ‘If All Now Here’ was an impressive opening gambit that actually came over more like THE BANGLES fronting Basildon’s finest. Essentially the one woman project of Anastasia Dimou, she successfully combined harmonies, dystopia and deserts for some dreamy electronic soundscapes. ‘Land Of The Innocent’ was a wondrous epic based around the arpeggio of ‘Ice Machine’ while ‘Soft’ borrowed from the single mix of ‘Behind the Wheel’, but added an enlightening pop sensibility. Of course the raunchier, bluesier side of DM revealed itself on ‘Fire In The Night’ and ‘Believe’, but in ‘Dark Matter’, there was a tune with a Latino dancefloor heart, but reimagined by NITZER EBB! Opening for DEPECHE MODE on the winter 2014 leg of the ‘Delta Machine’ tour completed the circle.
Named after the cult Italo standard, FOTONOVELA’s sophomore album ‘A Ton Of Love’ was conceived as a supreme electronic record featuring vocalists from all stages of classic synthpop, as a homage to the genre. As a sign of their ambition, the first person they approached was OMD’s Andy McCluskey and the sessions went well… so well, that the resultant number ‘Helen Of Troy’ ended up on OMD’s ‘English Electric’ opus instead! With FOTONOVELA’s tracks being coveted by their heroes, it boded well for the remainder of the album. With a cast that included SECTION 25, KID MOXIE and MARSHEAUX, the quality was maintained and several cases, even exceeded. In particular, ‘Our Sorrow’ featuring MIRRORS’ James New captured the essence of classic OMD with a spirited, majestic vocal while ‘Justice’ found DUBSTAR’s Sarah Blackwood in particularly feisty form. The presence of some of the most distinct voices in electronic pop music made ‘A Ton Of Love’ a fine showcase for one of best production teams in Europe.
‘A Ton of Love’ is available as a CD and download via Undo Records
With LADYTRON in hiatus, Helen Marnie set out “to create an electronic album with more of a pop element and pristine vocals” for her first solo record. Vocally and musically expansive like an Arctic escapist fantasy, this objective was achieved with ‘Crystal World’ with the classic pop of ABBA and MAMA CASS obviously apparent as well as MARNIE’s love of fellow weegies CHVRCHES. The brilliant launch single ‘The Hunter’ was the vibrant electropop single that LADYTRON never quite got round to releasing while there were other shining jewels like ‘Hearts On Fire’, ‘We Are The Sea’, ‘High Road’ and ‘Sugarland’. Meanwhile, ‘The Wind Breezes On’ was MARNIE’s own ‘Love Is A Stranger’ while the neo-acappella ‘Laura’ sat as a lush centrepiece to the collection.
‘Crystal World’ is available as a CD, LP and download via Les Disques Crespuscle
MESH’s danceable electro-rock ambitions became fully realised on ‘Automation Baby’. The lead single ‘Born To Lie’ was a brilliantly aggressive slice of Goth glam while in ‘Taken For Granted’, MESH had their own ‘Never Let Me Down Again’. ‘Just Leave Us Alone’ added some trancey dressing to the classic MESH template but it was the atmospheric maturity of the album’s ballads that were the big surprise. The beautiful ‘It’s The Way I Feel’ showed a more sensitive side with hints of ENNIO MORRICONE while ‘Adjust Your Set’ displayed some subtle traits despite its mechanical rhythms. But with the aptly titled ‘You Couldn’t See This Coming’, this orchestrated epic saw Mark Hockings’ passionate angst exposed for all. With the sonic balance bolstered by additional strings to MESH’s bow, ‘Automation Baby’ was undoubtedly the best album of their career to date.
‘Automation Baby’ is available as a CD and download via Dependent Records
On ‘Innocents’, MOBY’s familiar chord changes and sweeping string synths were all present and correct. But this was an adventurously beautiful work tinged with emotion, sadness and resignation that explored mid-life and mortality. Damien Jurado’s sensitive vocal on ‘Almost Home’ provided a marvellous slice of folktronica while Skylar Grey’s angelic voice on ‘The Last Day’ provided a beautiful innocence over the looping male gospel sample. One of the key moments of the album was ‘The Perfect Life’, an enjoyable duet by MOBY with FLAMING LIPS’ Wayne Coyne that came over bizarrely like GARY NUMAN at a Pentecostal church! With an elegiac tension, MOBY described parts of ‘Innocents’ as “nostalgic futurism”… it was also soothing electronic soul.
‘Innocents’ is available as a CD, deluxe 2CD, 2LP and download via Little Idiot
In 2013, Andy McCluskey and Paul Humphreys finally released the album that many had been wanting since 1984. ‘English Electric’ was a brilliant concept album that encompassed the mantra “what does the future sound like?” The reality of unfulfilled dreams and impending mortality lingered on ‘Metroland’ and ‘Night Café’ while ‘Dresden’, ‘Helen Of Troy’ and ‘Final Song’ used clever metaphors for tales of relationship breakup. However, the magnificent ‘Our System’ did what OMD always did best, with an emotive soundtrack about the universe while ‘Kissing The Machine’, McCluskey’s collaboration with KARL BARTOS from 1993, was given some appropriate Synth-werk. And there was the return of the Paul Humphreys vocal on the very personal ‘Stay With Me’, a melodic ditty that was up there with ‘Souvenir’.
‘English Electric’ is available as a CD, deluxe CD/DVD, LP and download via BMG Music
Laced with House, Italo and Eurotrance references, ‘Electric’ took a few risks with the opening track ‘Axis’ being virtually instrumental, re-imagining Bobby Orlando in the 22nd Century. The brilliantly titled ‘Love Is A Bourgeois Construct’ recalled the pomp of ‘I Wouldn’t Normally Do This Kind Of Thing’ but then came the hypnotic ‘Fluorescent’. Basically a wonderful dancefloor makeover of ‘Fade To Grey’, waves of synth sirens attacked like a Martian invasion. Meanwhile, ‘Thursday’ re-explored the New York club scene with the distinctive squelch of a TB303 and captured the vibrant excitement of what is now the new Friday. The slightly berserk ‘Shouting In The Evening’ was a slice of “banging” techno before the comparatively conventional ‘Vocal’. With the vivid sentiment “I like the singer, he’s lonely and strange – every track has a vocal…and that makes a change”, it was a befitting conclusion of what this album was about; ‘Electric’ by name and electric by nature.
‘Electric’ is available as a CD, LP and download via X2 Recordings
Anglo-German collective TWINS NATALIA captured a pristine technostalgic journey through a Europe of real life and postcard views on ‘The Destiny Room’. A wonderfully emotive soundtrack of elegance and decadence with a touch of neu romance, the collection’s main act began with the gorgeously arpeggiated ‘Destiny’. Then there was the more frantic HI-NRG romp of ‘I Avoid Strangers’, while the PET SHOP BOYS styled neo-orchestrated statement of ‘Set Love Free’ climaxed like a pomped up ‘Rent’. As an appendix, there was also the superb debut single ‘When We Were Young’ b/w ‘Kleiner Satellit’ which first appeared in 2008. With rich, vibrant soloing from Dave Hewson on a Roland Jupiter 6 throughout, ‘The Destiny Room’ was perfect listening electronic music enthusiasts of a time when people actually played synths and explored the capabilities of their drum machines.
Three years in the making, ‘The future through a lens’ was well worth the wait. While not as immediate as the tracks on the preceding three EPs made available for their German tour supporting OMD, the album itself took a more esoteric, filmic approach. Like ‘Twin Peaks’ meets ORBITAL, ‘Damaged Software’ was an enticing piece of electro while ‘Drowned Cities’ was an enticing entry point following the title track overture. Both the pulsating ‘Proximity’ and the moody ‘Nothing’ grew with further listens. But with the closing ‘Deep Red’, it took all that was great about early OMD, putting ‘Statues’, ‘Stanlow’ and ‘The Romance Of The Telescope’ into a breathtaking seven and a half minute epic. This full length debut impressed enough for VILE ELECTRODES to snap up two Schallwelle awards in Germany for ‘Best International Album’ and ‘Best International Band’ in 2014.
‘The future through a lens’ is available as a download via Vile Electrodes, CD and cassette package available at http://vileelectrodes.bigcartel.com/
Techno DJ WESTBAM celebrated 30 years in the music business with an intriguing mature collection of songs under the title of ‘Götterstrasse’. While the theme of the album centred on the joy and euphoria of underground nightlife, the magnificent launch single ‘You Need The Drugs’ voiced brilliantly by THE PSYCHEDLIC FURS’ Richard Butler was not actually a celebration of illicit substance use. It was an album full of surprises like the dramatic ‘Kick It Like A Sensei’ with rapper LIL WAYNE and the tensely militaristic ‘Iron Music’ featuring the distinctive baritone of IGGY POP. Meanwhile, ‘She Wants’ saw the return of NEW ORDER’s Bernard Sumner on a new electronic dance composition and the frantic but serene ‘A Night to Remember’ with THE STRANGLERS’ Hugh Cornwall brought proceedings to a euphoric come down via some piano and Solina strings.
‘Götterstrasse’ is available as a CD and download via Warner Music
The transformation of Glaswegians ANALOG ANGEL has been startling. Moving away from their industrial shackles, they came up with a largely excellent collection of quality synthpop in ‘Trinity’. ‘Drive’ was a haunting drama about domestic violence that was given extra poignancy by a ghostly guest vocal by Tracy J Cox. There was also the frantic ERSAURE on Stella Artois of ‘The Chase’, the rousing schaffel stomp of ‘Round Again’ and the refined CAMOUFLAGE meets VANGELIS atmospheres of ‘Inner Voice’. But the biggest surprise was ‘The Last Time’, a cinematic masterpiece involving an orchestra that cascaded into an epic Pan-European journey across The Steppes. The virtual symphonic strings and gothic choirs gave an indication as to what OMD might have sounded like if Jim Steinman had been producing!
After the promise of the ‘Bounty’ and ‘Kin’ collections, ‘Blue’ fully realised the potential of IAMAMIWHOAMI, the slightly bonkers moniker of delightfully odd vocalist Jonna Lee and producer Claes Björklund. Expanding on the audio / visual template of its predecessors, the first impression of ‘Blue’ is that it is more of the same. But like fine wine, this album gets better with age. The windy breeze of glacial Scandinavian beauty immerses itself on tracks like the sub-COCTEAU TWINS ‘Fountain’, the ABBA-like ‘Chasing Kites’ and the closing reverberant mood piece ‘Shadowshow’. But it is the more uptempo danced based numbers like the mutant techno of ‘Ripple’ and the KATE BUSH gone trance of ‘Hunting For Pearls’ that show the most advancement. Jonna Lee’s otherworldly rasp does polarise but once overcome, the sonic rewards can be startling.
RÖYKSOPP’s final album took five years but it ultimately benefitted the outcome. ROBYN returned for a shorter, sharper version of ‘Monument’, but her thunder was stolen by some supreme vocal performances by SUSANNE SUNDFØR and Jamie McDermott from THE IRREPRESSIBLES. ‘Save Me’ and ‘Running to The Sea’ reinforced why the former is the Nordic vocalist of the moment, while the latter’s contributions to ‘You Know I Have To Go’ and ‘I Had This Thing’ showed how modern electronic dance music can be both vibrant and heartfelt. Only the pointless profanity laden ‘Rong’, ironically featuring ROBYN, stopped ‘The Inevitable End’ from achieving perfection.
‘The Inevitable End’is available as a 2CD, 2LP and download via Dog Triumph / Cooking Vinyl
The ULTRAVOX reunion had a profound effect on the diminutive Mr Ure if nothing else and got him to fully focus on the solo album he’d been working on since 2001. The time that passed was worth it; songs like ‘Become’ recalled his work with VISAGE while the title track revealed that despite the moustache and long raincoat back in the day, he’d always wanted to be in PINK FLOYD. Meanwhile, instrumentals such as ‘of ‘Wire & Wood’ and ‘Bridges’ showed that Ure’s music still has subtlety. But the undoubted highlight of ‘Fragile’ was ‘Dark, Dark Night’, a co-write with MOBY. The song built to an amazing climax with the follically challenged pairing forming a partnership made in heaven. Overall, the album was an impressive musical diary of a man pondering and confronting his post-midlife.
‘Fragile’ is available as a CD, LP and download via Hypertension Music
Exciting are the times when two great bands come together to do a gig, one that will lighten up the darkest and coldest January night.
MESH and VILE ELECTRODES performed at The Garage and the event was certainly one to remember. Richard Silverthorn of MESH mentioned that he would never choose mediocre bands to support them, as he was more interested in the overall experience for the ticket buyer, rather than being the top dog and shining above all others.
That certainly was true for this gig; the headliner being one of the most celebrated alternative electronic acts that the UK has to offer with years of experience and multiple albums to showcase their immense back catalogue; and the main support, an extremely unique duo with superb synth interplay and quirky vocals, fast gaining popularity both in the UK and Europe. The Garage was certainly the place to be.
2014 closed a chapter for VILE ELECTRODES, a period which has seen them support OMD and JOHN FOXX as well as playing live in front of ex-members of KRAFTWERK. So for their first gig of 2015, the South Coast based synth couple took the opportunity to air some new material.
Despite taking a running start with the accessibly groovy ‘Empire of Wolves’ from their first album, it was straight onto the road test with ‘Drive’, a great little electronic ditty that was pleasingly immediate, yet fresh as well.
The dynamics of studio and live performance are quite different so although very promising, ‘Last Of The Lovers’ went on a bit too long, a fact that was dwelled upon by Anais Neon who endearing admitted to forgetting to cut out the last verse in the planned edited version they had rehearsed.
But while not yet fully formed, the other new songs ‘Evidence’ and ‘Stark White’ showed why VILE ELECTRODES have been winning music awards in Germany and enthusiastically championed by OMD’s Andy McCluskey.
Non-album EP track ‘Re-Emerge’ made a welcome return to the set, its energetic arpeggios now augmented by a barrage of Simmons drums from Martin Swan.
Meanwhile ‘Proximity’ and its haunting synth line borrowed from JOY DIVISION’s ‘Decades’ closed a well received set in front of an almost capacity crowd. MESH began their part proceedings with singer Mark Hockings standing by the mixing desk with stripped down renditions of ‘Trust You’ and ‘Not Prepared’.
This was a brave way to start with the beany capped Hockings exposed, but fully relishing his challenge. The full live band of Silverthorn, Sean Suleman (drums) and Richard Broadhead (keyboards) launched into ‘Flawless’ as the singer rejoined his bandmates on the stage and so began a passionate set, dealing with the downturn of relationships, both personal and virtual.
Indicative of the Bristol combo’s success in Europe, fans had come from all over the continent for this special show with German being the dominant language in the venue.
These fans were treated to a wonderful surprise in a terrific cover of YAZOO’s ‘Tuesday’ as Hockings did a fine tribute to Alison Moyet without actually trying to imitate her. This early Vince Clarke song was effectively turned into one of MESH’s own while still retaining its original essence and grace.
The dark yet uplifting ‘Crash’ from 2006’s ‘We Collide’ provided a great dance rock moment with plenty of anthemic qualities. And it’s this that MESH do best, emotive gothic tinged electro with melodies and the occasional dancefloor tendency. There was another surprise when REPUBLICA front woman Saffron made a special guest appearance on ‘Who Says’, a number from ‘A Perfect Solution’ which was originally a boy/girl duet with Julia Beyer of cult German band TECHNOIR.
The surprise pairing certainly kept the crowd in good spirits as they went on to enjoy further excellent songs from MESH’s most recent album ‘Automation Baby’ such as ‘Never Meet Your Heroes’, ‘Just Leave Us Alone’ and ‘Adjust Your Set’.
Incidentally during ‘You Didn’t Want Me’, former MESH live keyboardist Geoff Pinckney made a passing remark that watching his former colleagues live from the other side was “very emotional”.
The rousing stomp of ‘You Want What’s Owed to You’ and a fine crowd singalong conducted by Richard Silverthorn during the closing bars of ‘Taken For Granted’ was warmly embraced by all in attendance, with that latter now possibly MESH’s own ‘Never Let Me Down Again’. Returning with fan favourites ‘Born To Lie’ and ‘Friends Like These’ for the encore, MESH ably delivered to their loyal public.
With every UK MESH gig, the audience receives a rare treat. First of all, the exquisite performance from the band themselves, both musically and vocally, with Mark Hockings being indistinguishable from the album recordings.
Secondly with the choice of their main support; VILE ELECTRODES were a perfect pick and followed in the footsteps of KLOQ, DE/VISION and TORUL, each unique and fresh, making the whole experience truly one to remember. It was a most satisfying way to begin the year’s busy gig schedule.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Richard Silverthorn
MESH play ‘Gothic Meets Classik’ with COVENANT and ANNE CLARK at Leipzig Haus Auensee on SATURDAY 24TH OCTOBER and Lepizig Gewandhaus on SUNDAY 25TH OCTOBER. Details at http://www.gothic-meets-klassik.de/
VILE ELECTRODES play ‘A Secret Wish’ at The Lexington in London on SUNDAY 18TH APRIL with SISTA MANNEN PÅ JORDEN and guest DJ JOHN FRYER. Tickets are £10 in advance or £15 on the door, available from https://billetto.co.uk/asecretwish
With a less intense release schedule than last year, it was a bit more straightforward to choose the songs of 2014.
Whereas 2013 had a short list of 45 songs, 2014 was closer to 35 although not the struggle to find 30 as was the case in 2012. So just missing out are CLIENT, KLEERUP and ToddTerje featuring Bryan Ferry, although not by much.
As usual, they are listed in alphabetical order and all have been released either in physical formats, or digitally as purchasable or free downloads during the calendar year. Thus although the excellent video for LIEBE’s ‘I Believe In You’ gained traction on MTV Europe in 2014, the song was actually released in 2013.
Tracks which are exclusive to streams, videos or DJ only promos are also not included; so QUIETER THAN SPIDERS ‘The Land Of Lost Content’ is not eligible. Limited to one song per artist moniker, here are the 30 Songs of 2014…
ANALOG ANGEL The Last Time
The transformation of Glaswegians ANALOG ANGEL in the last 18 months has been startling. From their third album ‘Trinity’, its closer ‘The Last Time’ was a big surprise, featuring a cinematic arrangement involving an orchestra cascading into an epic Pan-European journey heading eastwards. Recalling THE SISTERS OF MERCY’s ‘This Corrosion’, the virtual symphonic strings and gothic choirs gave an indication as to what OMD might have sounded like if Jim Steinman had been producing!
‘Scream’ launched Margaret Berger’s first album ‘New Religion’ since 2006’s ‘Pretty Scary Silver Fairy’ although as yet, the new opus has yet to emerge. The Norwegian Idol finalist effectively revived her career with ‘I Feed You My Love’ which came fourth in Eurovision 2013. ‘Scream’ saw her continuing the Robyn meets DEPECHE MODE template of her Eurovision smash and possessed an inherent industrialised darkness in an approach to quality pop that set itself apart.
Available as a download single via iTunes Norway through Macho Records
The original first lady of cinematic electronic pop surprised everyone when she appeared on the cover of her third album ‘Where Else…’ with a guitar strapped to her back. But while the record had a folk and blues influence, the synthesized textures that Ms Brücken has been best known for were still very much part of the package. The launch single ‘Nevermind’ could be seen as a musical reply to OMD’s ‘Stay With Me’. A lovely mix of electronics and acoustic, she appears to be driven by a new artistic zest.
Available on the album ‘Where Else…’ via Cherry Red Records
DAVIDGE is best known for his work with MASSIVE ATTACK and has been involved in game and film soundtracks for many years. His first solo album ‘Slo Light’ was an impressive debut, containing many of the elements that marked his work with the Bristolian triphoppers. ‘Sleepwalking’ was a haunting number beautifully voiced by Eim Green which recalled the ethereal quality of COCTEAU TWINS’ Elizabeth Fraser and the electronically assisted Weimer Cabaret of ‘Felt Mountain’ era GOLDFRAPP.
Available on the album ‘Slo Light’ via 7Hz Recordings
Following the disappointment of 2011’s FRANKMUSIK driven ‘Tomorrow’s World’, ‘The Violet Flame’ produced by Richard X saw ERASURE express an infectious zest for the future. The songs began with pre-recorded dance grooves from Vince Clarke as represented by the euphoric opening track ‘Dead Of Night’. The best number from the package turned out to be a ballad remixed by Paul Humphreys who added some of the beautiful Synth-Werk magic that characterised OMD’s ‘English Electric’ to ‘Be The One’.
Available on the boxed set edition of ‘The Violet Flame’ via Mute Artists / Pledge Music
Released in time for their DEPECHE MODE support tour in Europe, ‘Wild Love’ was far more dance-oriented than anything FEATHERS attempted on their debut album ‘If All Now Here’. While a heavy beat dominated, the essential component of a song remained, building to a suitably epic chorus providing that euphoric lift. The gated trance elements in the second chorus were a particular highlight, especially when backed by a screeching falsetto counterpoint. But just as it got going, it faded out!
The moniker of Elizabeth Bernholz, GAZELLE TWIN has acquired an impressive host of admirers including John Foxx, Gary Numan and Clint Mansell. Her second album ‘Unflesh’ has allowed the Brighton based songstress to extract her demons with some artistic violence. One of the highlights ‘Exorcise’ was an impressively aggressive cross between PINK FLOYD’s ‘One The Run’ and KRAFTWERK’s ‘Home Computer’. Its uneasy resonance was aided by Bernholz’s harsh, deadpan commentary.
Available on the album ‘Unflesh’ via Anti-Ghost Moon Ray
This mysterious combo with their lo-fi noise and motorik beats have revealed a series of energetic singles over the past two years including ‘Jessica 6’, a frantic salvo sounding like THE PIPETTES fronting an OMD assisted JOY DIVISION. But GIRL ONE & THE GREASE GUNS revealed a much softer side with ‘No Longer Spellbound’. With its beautiful atmospheric quality smothered in icy synth strings and grainy vox samples, if ‘Twins Peaks’ had been set in The Lake District, then the theme tune might sound a like this.
Available on the download EP ‘No Longer Spellbound’ via Squirrel Records
HERCULES & LOVE AFFAIR feat JOHN GRANT I Try To Talk To You
Imagine Jim Morrison getting it on down at The Danceteria circa 1982! ‘I Try To Talk To You’ featuring the expansive baritone vocals of John Grant combined the best of classic New York electro disco and grand piano theatrics with an emotively soulful vocal. The courageous lyrics found Grant recalling when he discovered he was HIV positive. “I asked John to dig deep with his lyrical contribution” recalls HERCULES & LOVE AFFAIR mainman Andy Butler, “I had no idea he would dig so deep”.
Available on the album ‘The Feast Of The Broken Heart’ via Moshi Moshi
‘I Can’t Figure You Out’ sounds like another product of Scandinavia but in fact, HUGH hail from South London. The captivating, naive lead vocal from Izzy Brooks states “you know just how I feel” as she makes handle with care pleas like “don’t toy with me” and “careful with my heart” while the intensity builds like a pressure cooker. And this is all before a time signature change and some frustrating despair is released with her spirited jazzy refrain of “No, I can’t figure you out!” Now, who hasn’t been here before?
Available on the download EP ‘I Can’t Figure You Out’ via Hughlovehugh
IAMAMIWHOAMI, the electronic multimedia project fronted by Jonna Lee and produced by Claes Björklund returned with their second opus ‘Blue’. ‘Hunting For Pearls’ featured wonderfully pulsing sequences and trancey atmospheres, coupled with a beautifully rich vocal from Lee. With a mysterious falsetto reach, the air may be cold outside but inside, things are warm. If Kate Bush made a modern electronic dance record at ABBA’s Polar Studios, it would probably sound like this.
Available on the album ‘Blue’ via towhomitmayconcern
Deep from within the Adirondack Mountains comes the beautifully gentle electronica of I AM SNOW ANGEL. The self-produced vehicle of singer / songwriter Julie Kathryn, the music evokes images of icy landscapes and crystalline hydro basins. The best track from her debut EP, ‘Let Me Go’ is rich in understatement and a Nordic styled tour de force swathed in melancholy, full of dreamy escapism. The full length album ‘Crocodile’ released in the Autumn did not disappoint either with its quietly subversive nature.
Available on the download EP ‘I Am Snow Angel’ via Amazon
With a breathier, more continental direction towards cinematic pop, The Kid effectively grew up with her second album ‘1888’. KID MOXIE’s widescreen soundscapes and dreamy demeanour saw a much more focussed work. ‘Lacuna’ means “an empty space” yet this song is filled with an enigmatic mystery as Elena Charbila applied some of the je nais se quoi first piloted on 2008’s ‘La Romance D’Hiver’ to the drifting, almost abstract electronic soundscape… and then there’s the pretty isolated piano ending!
Available on the download album ‘1888’ via Undo Records
Having delivered one of the best synth based debut albums in recent years, any new Kleerup recording now lives with a high degree of expectation. ‘Let Me In’ featuring Susanne Sundfør, who voiced several tracks on RÖYKSOPP’s ‘The Inevitable End’ album, came over like Karin Park if she had joined latter day ROXY MUSIC. Retaining the original appeal of Kleerup’s debut, ‘Let Me In’ was brilliantly classic and yet modern with its more organic template and even funky template.
Available on the download EP ‘As If We Never Won’ via Warner Music
MACHINISTA’s pairing of John Lindqwister and Richard Flow specialise in synthpop with a rock’n’roll edge. Their best offering from their debut album ‘Xenoglossy’ was the schaffel propelled ‘Pushing The Angels Astray’. Despite discussing the spectre of immortality, the sombre aura was balanced with a marvellous melodic line and fabulous chorus like ALPHAVILLE in their prime. The Nordic region continually shows how electronic music is done and many could do a lot worse than to observe how MACHINISTA go about their craft.
Available on the download album ‘Xenoglossy’ via Juggernaut Music Group
Released in the week of the Scottish Independence Referendum, MARNIE’s ‘Wolves’ was an appropriately soaring anthem “for anyone that doesn’t believe in sticking with the status quo, for anyone who has the heart to try and make a difference”. Certainly, the positive response she received for her debut long player ‘Crystal World’ and a return to her homeland has no doubt inspired her own independence. But with MARNIE due to release a second solo album in 2015, what does this all mean for LADYTRON?
Available as a download single via Les Disques du Crépuscule
‘Trans Europe Express’ 21st Century style as Belgium’s favourite passengers METROLAND embarked on a maroon coloured rail journey through France and Germany via the Benelux basin on ‘Thalys’. The full length 11 minute version rhythmitised metal on metal while there were also London, Paris and Düsseldorf edits in this musical tie-in with the Thalys high speed train operator.
Available on the download EP ‘Thalys (London)’ via Alfa Matrix
Frisky vocalist Emily Kavanaugh and moody producer Mark Brooks began writing songs as NIGHT CLUB with the goal of creating dark – yet commercially accessible – synthpop. Developing on the Britney gone electro goth sound of their glorious 2013 single ‘Poisonous’, ‘She Wants To Play With Fire’ treaded on the darker, sleazy side of life and dysfunctional relationships with Kavanaugh out to take on her demented love rival.
Available on the download EP ‘Black Leather Heart’ via Gato Blanco
Issued as a trailer for her new album ‘Apocalypse Pop’, ‘Look What You’ve Done’ is a feisty development of ‘Restless’ from Karin Park’s previous album ‘Highwire Poetry’. Wrestling within a fiery glam schaffel and a catchy chorus like an angry GOLDFRAPP, with THE KNIFE venturing into more uncompromising climes, the ‘other’ Karin ably fills the void now left vacant by the Drejers in avant pop. ‘Look What You’ve Done’ is a fine example of the Swede’s ambition to fit into both pop and experimental worlds.
Available as a download single via State Of The Eye Recordings
With LITTLE BOOTS having gone dance and LA ROUX veering away from synthpop, there is now a vacancy for a new kooky homegrown female synth talent. One of the possible candidates is PAWWS, otherwise known on her passport as Lucy Taylor. She has labelled her music “upsetting disco” and ‘Give You Love’ lives up to that description. Certainly those who prefer their music with rough edges and are averse to female fronted synthpop will have their touch paper lit even further with this exquisite pop number.
Available on the download EP ‘Sugar’ via Best Fit Recordings
Since playing with John Foxx, Hannah Peel’s own music has used more electronics alongside her beloved violin, musicbox, piano and trombone. ‘Fabricstate’ starts as a beautiful understated number before being bolstered by an unexpected but amazing whirring synth solo around a series of percussive clusters. When the warmth of the synthesizer is exploited and coupled with a classically trained background, the hybrid can result in a quietly subversive organic and technological fusion.
Available on the download EP ‘Fabricstate’ via My Own Pleasure
One musician taking electronic music into some intriguing fusions is Beijing born Fifi Rong. ‘Next Pursuit’ crosses the vocal mystery of Kelli Ali and the quirkiness of MOLOKO while throwing in a touch of Lana Del Rey and MAZZY STAR too. Crucially, the intriguingly soulful ‘Next Pursuit’ also adds in rhythmical variation as the rhythms click into action during the higher register vocal refrains while the verses are held together with a smokey allure.
Available on the download EP ‘Next Pursuit’ via Ditto Music
ROBYN & RÖYKSOPP Monument (The Inevitable End Version)
Edited and rethought for ‘The Inevitable End’ album, ‘Monument’ was originally a spacey 10 minute epic now tightened to a more bite size and dare one say it, more enjoyable format sans saxophone over a hypnotic two chord structure. As usual, Robyn’s vocals are edgy and nonchalant while RÖYKSOPP’s electronic soundtrack ably hit the spot with its energized octave-jumping bassline.
Available on the album ‘The Inevitable End’ via Dog Triumph / Cooking Vinyl
With their third album in as many years, Finnish duo SIN COS TAN went the concept album route for ‘Blown Away’, a midlife crisis story of a man who becomes a drug courier and goes on a journey of excess, fast money and hedonism. First single ‘Love Sees No Colour’ dressed NEW ORDER’s love technique in an OMD stylee with the result being a kaleidoscopic tune that managed to mix sunshine with melancholy.
Available on the album ‘Blown Away’ via Solina Records
The Nordic vocalist of the moment has to be Susanne Sundfør who has worked with M83 and Kleerup. But she is probably best known for her work with fellow Norwegians RÖYKSOPP. Propelled by a pulsing electronic backbone, ‘Fade Away’ from Sundfør’s forthcoming album ‘Ten Love Songs’ sees her in rousing form with a tune that at times sounds almost like Scandinavian gospel. Meanwhile, a fabulous synth solo gets thrown into the bargain too.
Available as a download single via Sonnet Sound / Kobalt
One act establishing themselves in 2014 were TRUST from Toronto. Led by the polarising “Eeyore gone goth” moodiness of Robert Alfons, the ironically titled ‘Joyland’ was a excellent second album that captured the sleazy nature of a 21st Century SOFT CELL and attached it to the grumpiness of LEONARD COHEN. ‘Peer Pressure’ was a frantic but funky uptempo number featuring Alfon’s trademark vocal pitch shift technique that proved misery and dancing could actually go together.
Available on the album ‘Joyland’ via Arts & Crafts
Touchingly melancholic with classic Weimar Cabaret melodies and vibrant Kling Klang interplay, TWINS NATALIA conjured up memories of holiday romances with pretty German frauleins and flirty French mademoiselles. Debut long player ‘The Destiny Room’ was many years in the making and did not disappoint. With the PET SHOP BOYS styled neo-orchestrated statement of ‘Set Love Free’, the song theatrically climaxed like a pomped up ‘Rent’ as a wonderful slice of joie de vivre to finish the main act.
Available on the album ‘The Destiny Room’ via Anna Logue Records
While the romantically uptempo ‘Become’ was inevitably the focal point of Midge Ure’s ‘Fragile’ album, there were other songs that were easily its equal. The most notable of these was ‘Dark, Dark Night’, an online collaboration with Moby. Though derived from ‘Rockets’ on Moby’s ‘Destroyed’ opus, Ure exploited the original’s rich symphonic string sounds and chilled vibes. Building to an amazing climax with melodic screeches and a tremendous guitar solo from Ure, this was a partnership made in heaven.
Available on the album ‘Fragile’ via Hypertension Music
VILE ELECTRODES capitalised on their profile from supporting OMD’s German tour in 2013 by snaring prestigious Schallwelle Awards for Best International Act and Best International Album for their debut ‘The future through a lens’. ‘Pandora’s Box’ was an excellent previously unreleased song full of wobbling analogue vigour that initially came with the lavish ‘Pack Of Wolves’ three CD package and set the scene for a much anticipated follow-up long player.
WRANGLER’s manifesto is to harness “lost technology to make new themes for the modern world”. And their signature track is ‘Lava Land’, a superb cross between CABARET VOLTAIRE and prime ‘Metamatic’ era John Foxx but with a modern twist. Stephen Mallinder’s voice manipulations range from demonic gargoyle to stern drowning robot. The frantic pace is strangely danceable, but the mood is distinctly unsettling and dystopian when the screeching steam powered Logan string machine kicks in.
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Following the success of ‘An Evening With The Swedish Synth’ last March, Nordic friendly blog Cold War Night Life have announced their next live event ‘A Secret Wish’ on SUNDAY 19TH APRIL at The Lexington in London. 
Cold War Night Life is named after the debut album of Canadian band RATIONAL YOUTH. Why has this particular band inspired you and how do you equate their standing in the history of synthpop?
Cold War Night Life’s first live event was ‘An Evening With The Swedish Synth’ with PAGE, MACHINISTA and TRAIN TO SPAIN. How do you look back on that event and how it was received?
SMPJ are legendary in Sweden, because their music is so catchy. Their sound is somewhere between GIORGIO MORODER and SPACE, rebooted for the 21st century. VILE ELECTRODES are a great fit, and they showed at TEC003 that there is really no-one in the UK who can touch them. The secret wish is to see them all on the same stage.
reminded people why the classic line-up of 
. ‘Drive’ was a haunting drama about domestic violence that was given extra poignancy by a ghostly guest vocal by Tracy J Cox. There was also the frantic ERSAURE on Stella Artois of ‘The Chase’, the rousing schaffel stomp of ‘Round Again’ and the refined CAMOUFLAGE meets VANGELIS atmospheres of ‘Inner Voice’. But the biggest surprise was ‘The Last Time’, a cinematic masterpiece involving an orchestra that cascaded into an epic Pan-European journey across The Steppes. The virtual symphonic strings and gothic choirs gave an indication as to what OMD might have sounded like if Jim Steinman had been producing!
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