Denmark hasn’t produced a lot of electronic artists of note. Nephew established a reputation as “the Danish Depeche Mode” (it seems that every country has one), but they have come and gone over the years. Leaether Strip has been a constant in the international EBM scene for decades. It is heartening, therefore, to see the torch of synthpop being carried by Softwave.
Their new album is Game On. With space disco and synthwave influences to the fore, it lets singer Catrine Christensen soar over Jerry Olsen’s fizzing synthesizers. They describe Erasure as an influence, and Olsen certainly likes to deploy bleeps and bloops lifted straight from Vince Clarke’s crate of tricks.
That influence can be heard most strongly in “No Need to Hide,” which provides a positive, encouraging message for outsiders. Fans of Sweden’s Train to Spain will take to Softwave easily, and Game On is a great place to start the journey.
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.
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.
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:
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.
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.
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.
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.
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.
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. 
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.
After 2010’s Nu (EN: Now) revived the musical partnership of Eddie Bengtsson and Marina Schiptjenko, the profile and creative output of Page have been reaching new heights. Sweden’s original synthpop act, Page went through several transitions before bowing out at a performance in 2000. The reunion of Bengtsson and Schiptjenko, a decade later, surprised many by reinvigorating their music with mature themes and catchy melodies. Nu came across as a reboot, rather than a simple refresh, of Page’s sound.
Sitting for thirty years in the attic of Kevin Komoda, a box of memorabilia collected from his days in Rational Youth yielded some expected treasures when opened earlier this year. Besides pictures from Kraftwerk’s 1981 show in Montreal, Komoda found recordings from Rational Youth’s 1983 cross-Canada tour. Tapes from shows in Ottawa and Winnipeg were promptly digitised and released as cassettes and CDs, including bundles with rare and unreleased tracks from the RY archives.
Irish-born and Barnsley-raised, multi-instrumentalist Hannah Peel is best known in the electronic music community for her work with John Foxx & The Maths. With her amplified violin and keyboard work, Peel has brought an iridescent quality to Foxx’s stage shows, complementing the contributions of drummer and modular-synth master, Benjamin “Benje” Edwards. Peel’s solo material occupies a different place from Foxx’s, ranging from music-box versions of classic synthpop to ethereal, sweeping pop tracks that are more obviously inspired by a mixture of the Cocteau Twins and Irish folk traditions.
The release of Cryo material is always special, but the first single from the forthcoming Retropia album, In Your Eyes, came with an outstanding bonus track. While the A-side single is a definite alternative dancefloor-filler, The Portal is solid evidence that Martin Rudefelt has a deep well of compelling songs to draw upon. Although released in the position of a B-side, The Portal could easily have been a single in its own right. Dark, brooding and uplifting at the same time, it shows why Cryo continue to set the benchmark for EBM.
One of the surprises of 2013 was the low-key release by the electro-crooner duo, Julian & Marina, of their Distance EP, which included this exceptional track. Count the Stars is a wonderful pop song: elegant and charming in equal amounts. It goes a long way to preserve the feeling of early Pet Shop Boys songs, at a time when the PSB are borrowing ideas from Michael Nyman while singing Fabien Society pamphlets, and deserves wider exposure.
They’ve been around since 1984, but Candide aren’t stuck in an old-school groove. They released two singles in 2013, both of which were excellent; but, if pressed, we preferred this tribute to influential Swedish new wave act, Lustans Lakejer.
Belgium’s number one party band, Vive la fête went all Vicious Pink for this sultry but rhythm-infused remix. We made it a Track of the Day, but in truth it is one of the top songs for the year. A bouncy synth line, laid in by remixer Pantser Fabriek, gives it a minimal wave feel, but the vocals of model Els Pynoo take it over the top. More of this for 2014, please.
The duo of Richard Flow (ex-Vision Talk) and John Lindqwister (ex-Cat Rapes Dog) have conjured up a number of high-quality songs in their short time together, and with Pushing the Angels Astray they have established their place among the most exciting new acts of 2013. Their performance at Electronic Summer was one of the highlights of the festival, and with their signing to Juggernaut in the UK, we’ll be seeing a lot more of them next year.
