I Satellite is the project of Kalamazoo’s Rod Macquarrie. It’s inspired by Numan, Foxx and Alphaville, but driven by the capabilities of his unique collection of vintage machines. This song was a firm favourite during I Satellite’s Nordic tour for the new cold war, earlier this year.
If 2013 was a bumper year for recorded music, then 2014 was the year of the live show. Besides carefully curated festivals, like Electronic Summer and TEC 003, there was an ambitious Nordic tour by Rational Youth, Psyche, Sista mannen på jorden and I Satellite, followed by a German-Polish outing for Rational Youth and Psyche. Cold War Night Life sponsored “An Evening with the Swedish Synth” in Brick Lane, showcasing leading poptronica Vikings, Page, Machinista and Train to Spain. Karin Park and Parralox stormed the London stage this year, as well. The high water mark for UK artists was set by Vile Electrodes, however, who warmed up for their show at TEC 003 by winning awards in Germany. Sure, Avicii can fill hockey arenas with EDM DJ sets, but does he hand-make CD sleeves from faux fur, wear hats made from washing-up gloves and sing like a young Debbie Harry? No, and until he does, the Vile ones will have the creative edge.
With that, we are pleased to present Cold War Night Life’s Top 10 Releases of 2014.
ALBUM OF THE YEAR
1. Rational Youth – Cold War Night Life / Recordings 1981-84
Pole position in 2014 was easily taken by a set of recordings that were all made by 1984. Rational Youth’s first album, Cold War Night Life, came out in 1982 and quickly took a place in the synth pantheon next to the classic releases from that time, such as Depeche Mode’s Speak and Spell and John Foxx’s Metamatic. Over the years, it has become a cult favourite outside of Canada, with Swedish and German synthers fanning the embers into occasional flames. This year, the leading European artisan label, Vinyl on Demand, lovingly collated it with live recordings, demos, singles and EPs for one of their ultra-high quality box sets. Stunning sound from heavy-duty 180gm vinyl and amazing design mean that this is a package that only comes around once every thirty years.
SINGLE OF THE YEAR
2. Sista mannen på jorden – ”Stadens alla ljus”
Eddie Bengtsson nearly didn’t record “Stadens alla ljus” [EN: “City Lights”] himself. He first offered it to his former band, S.P.O.C.K. It was only after they turned it down that he took the plunge with his legendary project, Sista mannen på jorden [EN: The Last Man on Earth]. That proved to be a good move, as SMPJ fans have come to expect world-class poptronica with themes of space and longing from Sweden’s own Vince Clarke. “Stadens alla ljus” is the story of an astronaut looking down on the Earth and commenting on urban illumination as his air supply runs out. With sweeps that cover the cosmos and sequences set to Warp 4, it’s an evocative song made more poignant by Bengtsson’s emotive vocals. Once you’ve been transported by the chorus, there’s no way back.
The 12” version came with another SMPJ original, “Vem gör det då?” [EN: “Who does it, then?”], as well as two covers: an exquisite version of OMD’s “Stanlow” with Swedish lyrics and a faithful Devo tribute, “Going Under”. The combination was unbeatable in 2014.
3. Hannah Peel – Fabricstate
One of the highlights of the year was receiving a copy of Hannah Peel’s Fabricstate EP on a Saturday when the Sun was shining. We said:
“It’s not just that the record is pressed in red vinyl, mirroring the colour of her hair; nor that it contains Chloe, the award-winning song already heard in a British television production – the thing that sets Fabricstate apart is that it is infused with distillates of folk music but is a thoroughly modern musical cocktail. Take the title track, which begins with a piano accompaniment, but quickly develops a martial rhythm underpinned by Test Dept-esque metal, before razor-sharp sawtooth waveforms come in. Peel’s voice has a delicate quality, which sits against the more dangerous sounds of the instrumental track, setting them off by highlighting just the slightest hint of menace. Folk music for urban living, let’s call it.”
Peel’s talent and technique are solidly in evidence throughout. We couldn’t pick just one song, so the whole EP takes third place in this year’s list.
4. Machinista – Xenoglossy
Machinista’s infectious poptronica travelled well in 2014, reaching London for “An Evening with the Swedish Synth.” Their live show is a razor-sharp combination of up-tempo pop and experimental rock (think Bowie meets Suicide at Nico’s house with lots of Italo records scattered around). Xenoglossy is their first proper album, and it comes filled with the same superb, original poptronica; sometimes pointing at the skies and sometimes in our hearts for signs of life, but always moving feet and hips in tandem. On disc, John Lindqwister’s vocals let rip while Richard Flow runs the machines, and the two Swedish veterans conjur up a sound that is both fresh and electrifying.
5. I Satellite – Zephyr EP
Rod MacQuarrie’s collection of machines is impressive by any standards: he owns equipment formerly housed by Bill Zorn of Rational Youth and Phil Collins, and his studio is crammed with Oberheims, Rolands, Logans and ARPs that can be used to recreate the sounds of classic tracks by everyone from Alphaville to ABBA. With the release of Zephyr, the Kalamazoo-based musician showed off his old-school influences, as well as his ability to construct distinctive original material. Covers of New Order’s “Your Silent Face” and ABBA’s “I Am the City” are polished and respectful; but, by moving more in the direction of Gary Numan and John Foxx, we’d argue that the latter is arguably better than the original version. Tracks like “This Time” and “City Streets” are instant classics, while “Bubbleboy” channels alienation and pain to a mid-tempo beat. It’s pure magic.
6. Karin Park – “Shine”
Karin Park ran a remix competition on Beatport for her 2014 single, “Shine,” but none of the contributions came close to the original. With pained lyrics yielding a glimpse of hope in the chorus, the track sounded best with the attack side of the envelope set high on the keyboards and the beats restrained. Park’s voice is distinctive and sometimes compared to Karin Dreijer Andersson’s, but it’s got a texture of its very own. It provides the emotional overlay that lifts “Shine” to the next level, gliding frictionless over the instrumental track.
7. William Orbit – Strange Cargo 5
It’s perhaps easy for an album given away for free on social media to be overlooked, but the latest instalment of William Orbit’s Strange Cargo series wasn’t exactly a vanity project. The musician and producer, best known in popular music circles for his work with Madonna, Britney and (once, but we doubt ever again) Blur, had the material up his sleeve but just wasn’t looking to cash in on it. He could have charged the market rate for Strange Cargo 5, because it is the type of exemplary poptronica that record companies write him large cheques to use as a platform for their major stars, but he just put it on Soundcloud with the download feature enabled. Pure class – in more ways than one.
8. Parralox – “Crying on the Dancefloor”
We interviewed Parralox just before they appeared in London as support for Polly Scattergood. John von Ahlen’s sophisticated pop sense had consistently impressed us, but we were still blown away by the unveiling of “Crying on the Dancefloor.” With the addition of vocalists Francine and Johanna, Parralox ramped up its capabilities and glammed up its image even further. The accompanying video, in which the band play the role of a talent show jury, revealed them to have a sense of humour, as well as style. Parralox are back on the London stage to warm up for Erasure before the end of the year, and this is certain to be a crowd favourite. We’ve featured a techno mix here by Your Silent Face.
9. Vile Electrodes – “Empire of Wolves”
Drawing enough power to keep National Grid engineers on their toes during live performances, Vile Electrodes are the UK’s leading electro duo. Anais Neon has stunning vocal control, while keyboardist Martin Swan just about keeps the machinery under his spell in their synthetic Fantasia. This high-voltage track came in an exclusive package of remixes, embedded in a faux fur envelope, and it’s coiled to spring out of your speakers with fangs bared.
10. Colouroïd – Long Play
Colouroïd are the Icelandic/Swedish duo of Jòn and Ella Moe. Besides making excellent lower-case M and W minimal wave music, they also run the FlexiWave label from their Stockholm base (which we hear will be relocating to Berlin soon). Their first album is a masterful slab of vinyl, pressed with grooves cooler than the surface of Neptune. From the run-in groove until the stylish inner-label, each side is an icy, voltage-controlled mindscape. With titles like “Pillow Fort” and “Eye Shadow,” we’d say their songs are playful and dark – fifty shades of black, if you will.
At the end of April 2014, a series of mini-festivals were organised in Norway and Sweden, showcasing some of the most exciting electronic music acts from the 1980s and today. Cold War Night Life took in the Swedish shows and came back with bags of salt licorice and memories of unmissable performances.
RATIONAL YOUTH
Malmö, 30 April 2014
Gothenburg, 2 May 2014
Stockholm, 3 May 2014
Caught between two superpowers, Canada was the right place for an album called Cold War Night Life in 1982. Though recorded in Montreal, the atmosphere of Rational Youth’s debut was distinctly European: basslines and leads echoed the sounds coming from Dusseldorf, Liverpool and London, while the lyrics evoked the shadows and fog of divided Berlin and Gdansk. As troops stared at each from opposite sides of no-man’s land, Tracy Howe and Bill Vorn absorbed the tension and cynicism of the times, filtered it through a construction kit of analogue synthesizers and sequencers, and produced a world-class collection of songs on themes of love, alienation, glamour and paranoia.
Cold War Night Life became one of the defining electronic albums of the early 1980s, comfortably sitting alongside John Foxx’s Metamatic, Kraftwerk’s Computer World and Fad Gadget’s Under the Flag. Released on an independent Canadian label, its commercial reach was limited, but over the years the record became a cult favourite among the synthescenti. A copy found its way to neutral Sweden and C90 duplicates began to circulate throughout the country’s burgeoning electronic music scene. In this case, home taping didn’t kill music; it built a base of fans for whom Rational Youth issued distant signals on wavelengths tuned to the alternative dancefloor.
It was only at the turn of the last century that Rational Youth finally bridged the physical distance between them and their Swedish fans, playing selected dates with local synthpop heroes like Elegant Machinery and contemporaries like Robert Marlow. The warmth of their reception on these occasions stayed with singer Tracy Howe, and a return to the Nordics was organised to coincide with the release of a box set on the German artisan label, Vinyl-on-Demand, and new vinyl editions of the last studio album, To the Goddess Electricity.
The original plan was to transport a six-piece pop combo from Canada for a mini-tour of Sweden and Norway, but logistical considerations trimmed the act down to the essential duo of Howe and original keyboardist Kevin Komoda. Not a problem: fans were more than happy to receive them for a purely electronic show. Armed with a Moog Little Phatty and Roland JX-8P, Komoda was able to recreate classic sounds while confidently adding runs and fills that lifted the atmosphere higher than the International Space Station.
For Rational Youth, the shows were about revisiting familiar songs and old friends. In Malmö, Howe sported a personalised version of the jersey of Sweden’s national hockey team – a gift from S.P.O.C.K’s singer on a previous tour – while diplomatically avoiding mention of the Olympic games final. At the same show, Howe paid tribute to the Swedish scene’s finest songwriter, Eddie Bengtsson, performing an English-language version of “Luft” by Sista mannen på jorden. Joined on-stage by Bengtsson, Howe was visibly moved by the beauty of the music and their reunion.
Rational Youth’s sets on each date were dominated by tracks from Cold War Night Life, such as “Ring the Bells” and “Beware the Fly”. The songs have lost none of their vitality in the three decades since they were recorded, and the tug-of-war over Ukraine by empire-builders provided them with a familiar geopolitical back-drop. Tracks from later releases, including “The Man in Grey” from their eponymous EP on a major label and “Pink Pills, Orange Pills” from To the Goddess Electricity, were warmly received. The loudest cheers were reserved for “Saturdays in Silesia” and “City of Night” – both up-tempo, sequenced singles fondly remembered from the days when superpower submarines prowled Sweden’s archipelago.
A surprise show-closer in Malmö and Stockholm was a cover of AC/DC’s “Thunderstruck,” including Angus-like hopping. Firmly tongue-in-cheek, it was a playful riposte to the scene’s purists. Like many of the electronic pioneers, Howe was a punk who found his way to synthesizers (he still plays drums with his old band, The Normals), and he clearly couldn’t resist breaking down walls. It was also a coded signal that he hasn’t given up on adding drums and guitars to Rational Youth’s live act. A return to Europe is a real prospect, as is an expanded line-up with a new take on the band’s classic songs. The purists will secretly love it.
PSYCHE
Malmö, 30 April 2014
Gothenburg, 2 May 2014
Stockholm, 3 May 2014
Legendary Canadian exports, Psyche, have been pioneers on the dark electro scene for almost three decades. Informed by the hard electronics of early Fad Gadget and the Gothic imagery of post-punk artists like Joy Division and Bauhaus, Psyche launched in 1982 but first came to wider attention with 1985’s Insomnia Theatre, an album of horror-inspired classics with titles like “The Brain Collapses” and “Mr. Eyeball Ooze.” In due course, Europe called and Psyche were transplanted to Germany, from where they have continued to release edgy music born in the depths of the night and build their reputation as an outstanding live act.
Psyche’s Swedish shows opened with the hard-edged stomp of “The Saint Became a Lush” from 1986’s Unveiling the Secret. There were hints of “Tubular Bells” in the sequencer pattern; but, instead of Max von Sydow in a dog-collar, the fog gave way to singer Darrin Huss, occupying the stage with a vigorous dance routine, and keyboardist Stefan Rabura. What followed was a selection of hits from Psyche’s extensive back-catalogue, covering a range of styles while maintaining the dialectic between the morbid and uplifting. Songs like “15 Minutes”, “Sanctuary” and “The Crawler” easily got the appreciative crowd making noise: in Gothenburg, Huss told the boisterous audience, “I’m singing to the rhythm of your screams!”
Huss’ vocal range is impressive, and he is capable of bluesy belters as well as more delicate interpretations. On “Goodbye Horses,” one of Psyche’s signature covers, Huss successfully conveyed the song’s careful balance of pain and splendour, while Rabura’s accompaniment underlined its emotional ambiguity. The full power of Huss’ voice really came out on “Unveiling the Secret,” their 1986 hit, showing exactly how Psyche became a lasting presence on the dark electro scene.
A treat for Gothenburg fans was the appearance of Gothic personality, Adora BatBrat – who was on DJ duties for the event – for a cover of Soft Cell’s “Sex Dwarf.” The Swedish singer and model brought her entertaining brands of glamour and humour to the song – a main-stay of Psyche’s live shows – while acting as a foil for Huss’ own improvisation. Like the public service announcements used to say, “Sometimes the after-effects never wear off.”
SISTA MANNEN PÅ JORDEN
Malmö, 30 April 2014
Gothenburg, 2 May 2014
Stockholm, 3 May 2014
Eddie Bengtsson nearly gave away one of his best songs to his old band, S.P.O.C.K. When they turned down “Stadens alla ljus” (EN: “City Lights”), he recorded it for his own project, Sista mannen på jorden (EN: The Last Man on Earth). Released in time for Swedish shows alongside Rational Youth, it is a fusion of space disco, with a pulsating, filtered bass and classic sweeps, together with a melody line that Jean-Michel Jarre would die for. S.P.O.C.K probably knew their limitations: given a live outing, “Stadens alla ljus” fits smoothly into the SMPJ canon, sending hips and feet into motion with a sleek style more Studio 54 than old-time S.P.O.C.K-and-roll.
Bengtsson has an informal rapport with fans, who push to the front of the stage to sing along to “Sekunder” (EN: “Seconds”), “Allt är klart” (EN: “Everything is Ready”) and other SMPJ classics. Flanked by Christer Hermodsson, he knocks out energetic poptronica gems with an ease that belies their sophistication. For sheer elegance, songs like “Luft” (EN: “Breath”) and “Det där är grönt” (EN: “That is Green”) are without peers in modern electronic music. The crowds in Malmö, Gothenburg and Stockholm know this, and the bartenders at the venues are left in relative peace for the duration of SMPJ’s sets.
A SMPJ live show is an interactive affair; and, as the lyrics are all in Swedish, the audience easily sings along at Bengtsson’s prompting. You don’t need to speak a word of the language, however, to enjoy the throbbing basslines and clever melodic poptronica: a pair of dancing shoes will do the job perfectly.
I SATELLITE
Malmö, 30 April 2014
Gothenburg, 2 May 2014
Stockholm, 3 May 2014
The first single Rod MacQuarrie ever bought was Gary Numan’s classic, “Cars.” On the B-side of the US release was “Metal,” one of the cover songs that is a highlight of I Satellite’s Nordic shows. MacQuarrie, who grew up in a remote part of Canada but now lives in Kalamazoo, Michigan, clearly absorbed Numan’s futurist vibe deeply, as I Satellite travels with a vintage Korg System 700 synthesizer and an analogue sequencer the size of a small house. Turning out catchy songs that deconstruct city living and the love lives of replicants, I Satellite was a popular discovery for Nordic audiences who grew up with The Pleasure Principle and Telekon on their built-in IKEA record shelves.
MacQuarrie’s show isn’t all robotic longing: audience favourite, “Bubbleboy,” taken from 2003’s Auto:Matic album, explains the fate of a boy “alone in a bubble world,” superimposed over a sonic palette lifted from 1979. The I Satellite originals on display are both quirky and catchy, and after the shows groups of young men press forward to ask questions and seek signatures. Who knew in Södermalm that Kalamazoo was hiding such an interesting act?
ROBERT MARLOW
Stockholm, 3 May 2014
Robert Marlow could have been a contender. While his Basildon contemporaries saw their careers take off with Depeche Mode and Yazoo, Marlow narrowly missed out on stardom. On paper, a label deal and production help from Vince Clarke should have been the ideal platform; instead, he was Andrew Ridgeley in the shadow of the talent he stood closest to. Sales of his singles were slow, and an album recorded with Clarke and Eric Radcliffe was shelved until the end of the 1990s.
Never mind – the crowd at Stockholm’s Nalen venue knows all of the words to the 1980s singles: Claudette, The Face of Dorian Grey and Calling All Destroyers. They sing along contentedly, while Robert Enforsen, the former Elegent Machinery vocalist, handles iPad and keyboard duties and adds harmonies. Marlow’s voice holds up, but the years have clearly weathered the lad from Essex.
“Touch me!” cries a heavily made-up Marlow, extending his free hand from the stage. A sea of friendly Swedish hands reach back; and, at least until the music stops, Marlow is the Smash Hits cover star he always wanted to be.
Swedish synth legend, Eddie Bengtsson, remixed this track as part of his project, This Fish Needs a Bike, back in 2004. I Satellite is Sault Ste. Marie native, Rod MacQuarrie, who is making the journey to Europe as support for two Rational Youth shows in May 2014. Bengtsson is also on the bill, in his Sista Mannen på Jorden guise. This song will no doubt get a great reception, as it is as catchy as it is quirky.