The Nordic songstress, Karin Park, and the Irish rave master, Rebūke, return with a new collaboration. “Teardrops.”
The melodic techno track has a 90s vibe. Park’s solid steel vocals punch through the fog on the dancefloor with a resonance that lands with sensitivity. Out now.
Karin Park‘s evolution is marked in her recordings like the rings of a tree. At the centre, we find her making the jangly pop-rock of “Superworldunknown.” A little further out we discover the hardened dancefloor fillers of Highwire Poetry. The years pass, and the outer rings fill with contemplative material from Church of Imagination. The progression from young woman to mother; from ambitious pop star to complex artist; from lead performer to doom metal band member – it is all laid down in the grooves of the recordings.
Which brings us to the outermost ring, Karin Park’s Private Collection. From her base in Djura, Park has assembled a set of her favourite songs from her back catalogue, reconstructed with the singer and her pump organ at the core. One new track, “Traces of Me,” opens proceedings with a dry, unaccompanied vocal that leads to a soaring, distorted line that sounds like the blast of a rocket experienced from inside its flare. It is more than a statement of intent; it is a manifesto written from the depths of the heart.
“Opium,” from Apocalypse Pop, follows in a stripped down, slower reimagining. In a way, Park has done a This Mortal Coil to her own work – pulling at the threads to rework the fabric of the songs, while bathing them in a wash of reverb. Her studio in a converted church provides the perfect setting for this project, but it is Park’s spirit that is the most pronounced element.
Take, as an example, “Bending Albert’s Law,” from Highwire Poetry. In its original form, it was a powerful song that bubbled along on a swelling, synthetic backing. In this version, Park has tempered the instrumentation to give free reign to her vocal treatment. The level of emotion and texture in her voice is steps beyond the original, as if torn out of its packaging.
Park’s thumping collaboration with Hook N Sling, “Tokyo by Night,” also gets stripped back to its essential elements. Park’s voice cuts through the keyboards with an emotional clarity that cannot be bottled.
“Glasshouse,” from Church of Imagination, loses the embellishments added by producer Ichiro Suezawa and shifts focus. The same treatment is given to “Blue Roses,” which cuts out the percussive elements in favour of an emphasis on Park’s ability to channel energy through a range of vocal treatments. In places, she gives Nick Cave a run for his money.
The transformation of “Shine,” another song lifted from Apocalypse Pop, is striking but revealing. Park has worked with teams of producers on her commercial work; but, when pulled back to piano and vocals, her songs show their real power. It is like scratching the paint from a picture to find a master’s work beneath the surface coat.
“Look What You’ve Done” is halfway to being a Tangerine Dream track in the instrumentation. It has lost the glam stomp that made it a kind of uptempo “Personal Jesus,” and emerged from the chrysalis with even more distortion and feeling. The standout track on Private Collection, it is a gut-ripping take.
The album closes with a rework of “Superworldunknown,” the slice of positivity that made Park a pop star. It is treated respectfully, but a sense of closure lurks in her treatment. It belongs to the ring in the middle of the tree, and we are many seasons distant from it now. It has been there, at the core, as new rings were added. Now, as winter sets in, the tree surrounds it and patiently waits to grow again.
If 2013 was the year of new music and 2014 the year of the live show, what was the defining feature of 2015? We’d say that it was the development of collectives organising to support artists outside of the record industry mainstream. The trend picked up steam with I Am Snow Angel joining forces with Dani Mari and Claire London. They called themselves Female Frequency and started crowdfunding to produce an album made entirely by women artists. Over in Norway, the KOSO collective launched with a similar spirit. This was less of a feminist statement than a reflection of feminine confidence. The record industry might be run by men in suits and their hipster-bearded minions, and EDM might have been born in some boys’ bedrooms, but this year the female of the species got tired of waiting for her turn. She sounds great.
We called What It’s All About the soundtrack to summer, and with its effervescent synths and sparkling vocals it was glittery bliss for the trip to the beach on bright weekends. Those days are long forgotten in Europe, suffering in the cold and damp of a stormy December, but we have Polaroids to remind us that Train to Spain’s first album was an accomplished debut.
Hannah Peel’s first EP of cover songs, Rebox, tackled classic 80s pop gems, like “Tainted Love” and “Blue Monday.” Her second, Rebox 2, picked tracks from more current artists, such as East India Youth (with whom she toured) and Perfume Genius. We love Peel’s original material, but there is no faulting her song choices or interpretations here. As ever, Peel’s voice is the draw – it travels on wavelengths of exceptional clarity and has the impact of a Holi carnival of colours.
Machinista’s second album showed off the continued strength of their songwriting, as well as John Lindqwister’s penetrating vocals. Last year’s debut, Xenoglossy, set the template, and there was clearly more Lynchian, dancefloor-friendly poptronica waiting to come out.
John Fryer, the legendary producer and songwriter, pushed out two major projects in 2015: Silver Ghost Shimmer, a grinding, sexy project with singer Pinky Turzo; and Muricidae, a Mortal Coil-esque enterprise featuring Louise Fraser. We found it hard to choose between them, but in the end kept coming back to this jewel from Muricidae’s debut album, Tales from a Silent Ocean. Set to repeat, it’s perpetually Sunday after sundown, and that’s our favourite time.
Reinterpreting a Depeche Mode album with synthesizers might seem a neat conceit from a distance, but when it is A Broken Frame, the Basildon boys’ second, purely electronic album, you might also ask, “Why?” The answer is that Depeche Mode have long turned their back on that masterful set of experimental pop. If Gore and Gahan aren’t going to develop the ideas that were first captured in Blackwing Studios, back in 1982, then why not some fans from Athens who have a line in angelic electropop? By giving the songs a modern makeover, Marsheaux breathed new life into them – if only DM would do the same!
There still isn’t a band in Britain that is making music at the level of Vile Electrodes. Their three-track EP, Captive in Symmetry, reminded everyone of that, but so did a show warming up for Mesh and a headline performance at “A Secret Wish.” This was also the year that the BBC discovered the Viles, as did lecturers in media studies at an academic event in Dusseldorf. After years of breaking the fourth wall, surely it’s time they punched through the glass ceiling, as well!
In the year of A-Ha’s return, we discovered a Norwegian artist we like better: Pieces of Juno, an Oslo-based songstress, caught our attention with leftfield poptronica and creative video work. We first heard her providing backing vocals for Karin Park at Electronic Summer, which was a mighty performance all-round, and a little digging unearthed a vein of gold and silver.
Nothing against Morten & Co., but things have moved on a little. These days, Juno and friends in the KOSO collective are making their own way without the support of major record labels. As this effort shows, Norwegians are still doing great video work to accompany the sounds from the North.
One of the stand-out performances of 2015 came from Sweden’s Me the Tiger at Gothenburg’s legendary Electronic summer event. The trio from Falun shook the walls with outstanding songs and fabulous vocals from Gabriella Åström. It turned out that they’d put it all down in the studio, too, and Vitriolic was bottled lightning. With DAF’s management behind them, they’re going to go far.
The word “muse” comes up a lot in writing about New York’s Jennie Vee. Not in the sense of a glam- and prog-influenced rock band that puts marching teddy bears in their anti-NWO videos, but as an artist who stimulates others. Courtney Love has used the term to describe Vee, as has her photographer, Katrin Albert. We just call her great, because Vee has given shoegaze a shiny, patent-leather kick from behind. Her first solo album, Spying, demonstrated that the preceding EPs weren’t kidding with their emphatic, bass-driven dreampop. We’ll be spinning this for a long time yet.
The arrival of Karin Park’s fifth studio album was keenly anticipated. There had been a three year interlude since Highwire Poetry, and it turned out that the extended gestation period did nothing to detract from Park’s sense of melody. With a diverse group of songwriters collaborating on compositions, the album’s flavours change like an American gobstopper candy: layers peel away to reveal a raw, inner core of emotional authenticity that you get from few other artists. “Hard Liquor Man” and “Look What You’ve Done” will become classics of Park’s live show, but we also loved “Stick to the Lie,” which had a single release with this remix.
Dan Söderqvist’s sidelines from Twice a Man have included a number of collaborations with European and American artists. This year, he picked through the archives for some of the best, which were collected as Dark Flowers Awake. With contributions by the artists behind Building Castles Made of Matchsticks, Narcoleptica and Mono-Drone, among others, the album showcased Söderqvist’s experimental forays but also how far his influence reaches beyond Sweden’s borders.
We’ve been waiting for Rein to come along – a fierce, independent woman who combines talent with a capacity for attitude and aggression that can tame the hardest death metal grunt. Armed with a copy of Reason, Rein stormed onto Soundcloud with the old-school EBM of “There Is No Authority But Yourself,” followed quickly by “Concrete Jungle.” The latter proved that she has a fantastic voice, while this mix pushed us out onto the floor all over again. Dance, pilgrim!
Finnish avant-folk composer, Lau Nau, breezed into our consciousness with the soundtrack to Hem. Nagonstans, a film by Lotta Petronella. Readers of The Wire and visitors to obscure festivals will have got there ahead of us, but the musical world of Laura Naukkarinen is one that we are happy to inhabit. A rare London appearance confirmed the organic beauty of Lau Nau’s voice and vision. We’ve been walking barefoot among the birch trees ever since.
Released to mark SMPJ’s first London show, at Cold War Night Life’s “A Secret Wish,” …translate was an ultra-limited edition EP, featuring English versions of some of the band’s best-known songs. With a darker version of “Stadens alla ljus” rendered as “All the City Lights” and the classic “Luft” reprised as “Air,” this was the perfect introduction to Sweden’s best-loved poptronica outfit.
The EP isn’t available as a download – you had to be there. Sorry if you couldn’t make the show, but singer/songwriter Eddie B did share this taster on his Soundcloud account.
Twice a Man have been making music together for four decades, but they’ve never lost their bleeding-edge coolness. In 2015, they released a new album, Presence, with the political verve and musical mastery to show the new generation how it is done. This is a remix that appeared on the single for “Black,” proving that there is plenty of juice in the engine yet.
Norway’s Juno came onto our radar through Kine Sandbæk Jensen’s involvement in Karin Park’s live band. Providing vocal, synth and percussion support, she was an excellent fit for Park’s show, and our curiosity was piqued by the information that she had a musical project of her own. The releases we were able to find online, under the name Pieces of Juno, intrigued us with leftfield electronics. Now comes the welcome news that a new track, “Same to Me,” produced by Oxóssi, has been given a video to accompany it. The song is leftfield and quirky, but also warm and engaging. Just the thing for a Fall soundtrack.
Gothenburg’s Electronic Summer event is the highlight of the music calendar in Northern Europe. The annual festival, which began in 2012, lines up international acts and local synthpop heroes for two days of dynamic performances and non-stop ecstatic dancing.
This year’s programme was headlined by futurepoppers VNV Nation and dark electro veterans Project Pitchfork, but shows by Marsheaux and Karin Park balanced proceedings with world-class melodic poptronica. Home-grown acts, like Me the Tiger, Presence of Mind and Destin Fragil, drew large and supportive crowds. With a regular rhythm throughout the weekend, DJs from the scene’s most influential clubs emerged from a sea of black-clad Vikings to share mixes before returning to immerse themselves in successive waves of EBM and poptronica. The forecast for Sweden’s second city had been for thundershowers, but the electricity in the air all came from a Tesla coil of expectations that was charged by the crowds gathered at the Brewhouse venue.
Sweden’s electronic music scene has held steady, over the years, against encroachments by EDM, Dubstep and Jungle. The country certainly produces world-famous DJs (Avicci, Andreas Tilliander) and pop producers (Max Martin), but it also nurtures classic synthpop acts and opens its arms to new ones. Visiting artists are welcomed with curiosity, while competing DJs and promoters from across the country are shown hospitality rather than hostility. The only aggro on display is a stylistic offshoot of industrial dance music, and the festival atmosphere is inclusive and celebratory.
Cold War Night Life participated in this year’s festival by conducting pre-event interviews with artists and performing a DJ set that included the world premiere of a new Rational Youth track. We also had writers and photographers on the scene. Our selected festival highlights are set out below, but also look for a review by our friends at The Electricity Club, who travelled to Gothenburg to find out what it is that makes the Swedish scene so special.
There was a buzz building about Me the Tiger well before Electronic Summer. In pre-event interviews, several artists cited the Falun-based band as one they wanted to check out for themselves, and it was a promising sign that they share DAF’s management. The soaring sounds blasting through the speaker stacks at the event validated the chatter about the indietronica three-piece: Me the Tiger easily bear comparison to Crystal Castles or The Yeah Yeah Yeahs.
Fronted by the charismatic and confident vocalist, Gabriella Åström, Me the Tiger rock the room with power chords and synth lines kicked out by Tobias Andersson, while drummer Jonas Martinsson hammers out solidly danceable rhythms. Their set opens with “Pocket Sized Edition Ending” and “Ariana,” two energetic tracks lifted from their first, self-titled album. They are followed by “What Promises Are Worth,” the uncompromising first single from their new album, Vitriolic (Repo). It’s been a crowd favourite in their live show for a couple of years, and its slow build into an anthemic stormer gets even the jaded aggrotech warriors in the back to move their feet.
After “Headlines,” Me the Tiger completely smash it with “As We Really Are,” the stand-out track from Vitriolic. With a little push from Herr Sprick, expect this song to crash its way up the indie charts. It’s testimony to Andersson’s exceptional songwriting skills, but Åström’s nitro-fuelled delivery is also one of the highlights of the festival. They return to “All We Had” to close the set, basking in the after-glow and leaving the audience needing more.
Vitriolic is released on RepoRecords on 4 September 2015.
Official Web site: methetiger.com
Newly married and fresh from a honeymoon tour of North America with Norwegian noise merchants Årabrot, Karin Park‘s appearance at Electronic Summer is cause for excitement. It’s her first major show in Sweden since a mini-tour for the release of her fifth studio album, Apocalypse Pop, way back in March, and the crowd has missed her.
The act is named for Karin, but she’s not alone. At the back of the stage, brother David Park, clad in his usual Slayer t-shirt, knocks out rhythms and strikes MIDI triggers. On his right, the most recent addition to the team, Kine Sandbæk Jensen (Pieces of Juno), works the keyboards and provides striking backing vocals. The performance is breezily powerful; taut with a touch of wildness. It feels like someone’s been working to refine the stage show, and in doing so they’ve expanded its possibilities while relieving some of the pressure on the Park siblings – not that they work any less hard, it must be said.
The set begins with “Restless” from Park’s previous album, Highwire Poetry, before reaching back to 2009 for “Ashes.” A cover of “Everything” by Maya Jane Coles, which Park sang on in 2013, is a side-trip into deep house territory; a reminder that Park’s own material often hovers between Beatport playlists and dark poptronica. “Stick to the Lie” from the new album, Apocalypse Pop, is a test of Park’s vocal range, which she passes emphatically.
“New Era” from Highwire Poetry follows, and it’s hard to think of another current performer who invests so much genuine emotion into her songs. “Hard Liquor Man” and “Look What You’ve Done” from Apocalypse Pop raise the pressure – the former seeming to invite references to Vladimir Putin with a slight change to “Hard Little Man,” if we heard it right. “Can’t Stop Now” from Ashes to Gold is escstatic poptronica, and “Thousand Loaded Guns” from Highwire provides a thunderous conclusion.
Karin Park’s performance is primal in all the right places, and as shiny as Brigitte Helm’s robot from Metropolis in others. It bears noting that the new album features writing contributions from Jim Eliot, who co-wrote most of Ellie Goulding’s Halcyon album and has provided songs for Olly Murs, Will Young, Ladyhawke and Kylie Minogue. Other contributors to Apocalypse Pop include Dan Brown, who has worked with Massive Attack, The The and Mark Stewart, and Dave McCracken, who is responsible for much of Ian Brown’s solo output and has recorded with Depeche Mode. The songwriting team behind Park is talented, but standing in front of a thousand Swedes it is her voice that makes hearts pause. It is her face that makes the lenses turn in sync. It is her pain that cuts through the air. And it is her smile that rises with the house lights, as if to say, “We made it.”
Psyche arrive at Electronic Summer to mark the thirtieth anniversary of their influential first album, Insomnia Theatre. Tragically, shortly before the festival, news emerged of the death of one of the band’s founders, keyboardist and composer Stephen Huss. Although Huss had been prevented by health issues from performing with the band for many years, he had left a legacy of pioneering dark wave songs, and the shows quickly become a celebration of Psyche’s roots. Singer Darrin Huss and keyboardist Stefan Rabura have reworked a number of early tracks and added additional classics to their sets, which gives their performances an air of both respect and renewal.
The godfathers of dark wave, Psyche were one of Canada’s original synth acts. Inspired by the pantomime and politics of Fad Gadget, as well as the gothic influences of the UK post-punk scene, they sang about the consequences of teenage experimentation (“The Brain Collapses”), made suits from shaving foam and wrote soundtracks for imaginary horror films (“Eating Violins”). By the time they escaped Edmonton and started recording Insomnia Theatre, early keyboardist Dwayne Goettel had departed, leaving the Huss brothers as a duo.
Insomnia Theatre was the first step in a path that took Psyche to Europe, where their darker style was embraced by the alternative music scene. New Rose, a French label, licensed the album and released two more, which showed off the band’s ability to command the dancefloor. “Unveiling the Secret,” “Thundershowers,” “The Saint Became a Lush” and “Eternal” rapidly became electro classics and Psyche’s roots in the European scene grew deeper. More recordings followed, with labels and line-ups changing as business and personal circumstances moved on, and Stephen Huss’ retirement left brother Darrin to carry on the Psyche tradition.
The first of two Psyche shows at Electronic Summer draws on older material, starting with “Unbreakable” from 2001’s “Sanctuary” EP. “The Brain Collapses” rouses the crowd to sing along, a sea of hands reaching out towards Huss and Rabura. A series of other tracks written with Stephen Huss follow, including “The Saint Became a Lush,” “Eternal,” “Angel Lies Sleeping,” “Uncivilized” and “The Outsider.” Darrin Huss’ voice has the strength of a male Shirley Bassey, and he uses it to full effect on a set that ends with “Unveiling the Secret” and “Gods and Monsters.”
A secret show, held at the outdoor stage named after Psyche’s “The Outsider,” follows on the second day of the festival. An enthusiastic crowd, still buoyant from the previous day’s proceedings, cheers on “The Crawler,” “Mr. Eyeball Ooze,” “Krieg” (a track written by the Huss brothers with Dwayne Goettel in the band’s early days), “Thundershowers,” “Taking Chances” and “Insatiable.” The Swedish audience show their appreciation for the Psyche songbook by packing the stage area and singing along to even the lesser-known tracks. It’s all over too quickly, but it’s clear that the DNA of these songs can be traced into many of the other acts performing at the festival.
Official Psyche Web site: psyche-hq.de
There was a time when Depeche Mode were adopted by left-leaning music journalists for their critical lyrics and Soviet-/Maoist-influenced graphics. That culminated with the release of Construction Time Again and the single, “Everything Counts,” in 1983, but more sensitive semioticians had already registered the symbolism of A Broken Frame the previous year. Brian Griffin’s striking cover photograph for the album showed a peasant working in a field with a sickle; Martyn Atkins’ graphics followed the theme with wheat-sheaf and sickle symbols; and Martin Gore’s lyrics for “The Sun and the Rainfall” seemed to channel the anti-Thatcher mood of UK youth with the repeated line, “Things must change!”
If the music press had high hopes for Depeche Mode’s political direction at the time of A Broken Frame, they were less impressed by their musical turn. Following the departure of Vince Clarke, who had penned most of the songs on their chart-baiting debut, Speak & Spell, the band had struggled to come up with equally commercial material. A couple of singles, “See You” and “The Meaning of Love,” rode the momentum generated by their early hits and hinted at Martin Gore’s emergence as a songwriter, but A Broken Frame was a transitional release, showing the band at its most experimental. With time, the band came to turn their back on the album, dropping even the singles from live shows. Looking back, Dave Gahan called it the band’s “weakest album by far.”
Many fans had a less harsh assessment of A Broken Frame, appreciating its off-beat but clever, purely synthesized, songs. While “Leave in Silence” was a peculiarly doom-laced song for a 12″ single, which couldn’t really be danced to comfortably, it fit with the darker musical atmosphere prevailing in 1982. Other songs, such as the instrumental “Nothing to Fear” or the moody “My Secret Garden,” were magnificent departures from the twee synthpop sounds that had dominated the charts a year earlier. The closing track, “The Sun and the Rainfall,” despite its critical-realist lyrics, was invested with as much optimism as could be wrung from a PPG Wave.
The gap between Depeche Mode’s assessment of the album and their fans’ enthusiasm has only recently been bridged by Marsheaux. The Athens-based band caused some controversy when it released a track-for-track cover of A Broken Frame on the Undo label, earlier this year. Dissenters grumbled about the potential similarity in styles, but Marsheaux’s interpretations turned out to be respectful and thoughtful. While the production of the original songs had disappointed Depeche Mode, they hadn’t revisited them. It was left to Marsheaux to deconstruct and reimagine the tracks, which they did true to the poptronica style developed over their previous four albums.
The genius of the project is revealed most fully in a live setting. Depeche Mode are never going to play “My Secret Garden” for their current audience, but fans who know the songs want to hear them played at high volume. The crowd at Electronic Summer is one of the best informed, so they know all of the tracks and have taken Marsheaux’s versions to heart. The Greeks oblige with performances of “My Secret Garden,” “The Sun and the Rainfall,” “Monument” and “Leave in Silence,” interwoven with Marsheaux originals, “Exit,” “To the End,” “Can You Stop Me?,” “Hanging On,” “Dream of a Disco,” “Breakthrough” and “Inhale.”
At the front of the stage, singers Marianthi Melitsi and Sophia Sarigiannidou manipulate microKORG keyboards and show off their vocals, while men in wolf heads work on the live mix. A video projection runs behind them, but all eyes are on Marianthi and Sophia and all ears are tuned to what Andy McCluskey of OMD called the duo’s “wispy, melancholic charm.” On “The Sun and the Rainfall,” Sophia’s breathy vocals transform the song into something more sophisticated than the original. Things must change, certainly, and sometimes they come out better for it.
Karin Park has won over audiences from the back-woods of Dalarna to London’s hipster districts with raw, emotional songs and dancefloor-friendly electronics. She co-wrote Norway’s popular Eurovision entry in 2013 and lures the lenses when working as a model, but it’s for her confident, compelling stage shows with brother David that she’s best known. We tracked down Karin on tour for a virtual fika.
What do you expect from the audience at Electronic Summer 2015?
I know that the audience at Electronic Summer is really interested in music and loyal towards the bands that they appreciate. So, I look forward to meeting those fans I already have but also to performing for those who have never heard my music.
What can the audience expect from you?
We love to play live and we have fun, so I believe the audience also is going to have it. People are often surprised by our show. One must really come and see for oneself…
You play live a lot abroad. Do these shows differ from when you play on Swedish soil?
All countries differ slightly depending on the culture. But it is also true that it is slightly the same type of people who come to my concerts, so sometimes one becomes amazed at how alike people are, wherever one is coming from. Music brings together people who think alike, in some way.
Who are you looking forward to seeing on stage at this year’s ES?
When one plays at a festival, it is very difficult to pinpoint what one has the desire to see. But I intend to check out as much as is humanly possible. I hope that I have the time to see Me the Tiger. I have seen them before and it was great.
Where do your strongest influences come from?
It changes from record to record, because I listen to so many different ones. Everything from Whitney Houston to Miles Davis to Scott Walker. But The Cure, Depeche Mode and Fad Gadget have probably had a big impact on my sound these last years. And so has Kelis.
If you would make a cover here and now, which doesn’t need to be a synth track, which song by which band would you choose and why?
I listened to ”Money for Nothing” by Dire Straits the other day, and I thought that I should do a cover of this. It is such an awesome song with a very strange text, and I think that I could make a cool version of it.
Which band would you like to see make a cover of one your songs and which song would suit them best?
Wow! What a question. I have never thought about it. I have actually received many cover versions of my songs but never any which I liked especially much. If Tom Waits had done a cover of my song, “Bending Albert’s Law,” then I would have been in Heaven.
Is there anything that you are especially nervous about?
No, I don’t think so.
When is it best to see you on stage?
22:30 is the best. Then I am in my element.
When is it best to listen to your music?
Definitely in the car. I make car music, I think.
How does the future look?
Fortunately, I have no idea. One can of course die tomorrow. But I will build a good studio in the autumn, I have been thinking, so it will be good to nest there a while before we tour again. It will be in part of the USA, too, it seems. It will be exciting.
Do you have new material or tours coming?
I have not done anything but write songs and tour these last ten years, so in the summer shall I actually go to the USA as a keyboardist in the noise-rock band Årabrot for a month. It will be something totally different and it will be like my holiday. My first in nine years. But then I am coming to Electronic Summer and other festivals. Keep track of where I am playing on my Facebook page!
Karin Park’s official Facebook page.
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.
Hoxton Square Bar & Kitchen
London
9 July 2014
No one is staffing the merchandise table at Karin Park’s Hoxton show. A folded t-shirt sits next to a CD – abandoned, perhaps, so that the merch rep can take in the gig from a position closer to the stage. Spaces at the front are at a premium, taken up by photographers pointing lenses at Karin and girls pressing forward for a closer look at her brother, David.
It’s hard to fault them, really. Drummer David is a blonde mane atop a muscular V, while singer Karin’s symmetrical features are a lure to lenses. The show is a rare London outing for the Parks, and Dalston hipsters vie with Essex music veterans for the best view as David energetically knocks out rhythms and triggers pads. Sister Karin owns the stage, striding from Dreier-esque vulnerability to confident, floor filling dance tracks with a vocal range as wide as her legs are long.
The set feels like it is over in a heart-beat, but the hour-long show covers a lot of terrain: from current Beatport favourite, “Shine,” to the dueling drums of “Thousand Loaded Guns.” A new song, “Look What You’ve Done Now,” is darkness and magic. “New Era,” from the Tiger Dreams EP, rubs shoulders with “Wildchild” from Highwire Poetry and a version of Maya Jane Coles’ “Everything.” Recalled to the stage by enthusiastic applause, the Parks reach back to 2009’s Ashes to Gold for “Desire” with just the slightest hesitation – it hasn’t been played live recently, but it’s a reminder of how far their sound has traveled and how vital it remains.
From the backwoods of Dalarna to an intimate venue in Hoxton, Karin Park’s song-craft is consistently unvarnished and raw. It touches nerves, breaks hearts and moves hips. It’s the real thing. You can pick up a t-shirt another time.
Karin Park is one of CWNL’s favourite vocalists. The symmetrical Swedish export shows up in the fashion pages, guesting with other artists, propelling Norway’s Eurovision team – and, finally, with a new single. Shine is a slinky slice of electronica, more accessible than The Knife but with an undeniably experimental verve.
If you don’t recognise her from the Nokia ad or as the writer behind Norway’s popular Eurovision entry, then you’re falling behind. Karin Park has emerged from the Scandi pop scene as an international star-in-the-making. With her brother, Daniel, looking after the drums and triggering other instruments in real time, Park is in good form in this video, shot at an intimate gig in Stockholm.