new wave / art rock / neo-psychedelia / synth pop
RIYL – Annie Lennox, Siouxsie And The Banshees’ Kaleidoscope, early Cocteau Twins, This Mortal Coil, Conny Plank productions
Offbeat, ‘leftfield’ or plain weird early work from soon-to-be chart toppers are a phenomenon that never fails to draw me in. Beyond an already unique path in sound and genre, Eurythmics’ commercial-flop debut was a great example. 1981 had Annie Lennox and David Stewart in an odd spot between their upbeat power pop with Tourists and finding their niche as a minimal synth-pop duo. They had the icy keyboards down by now, but a backing band as well, playing an ambiguous new wave-jangle-neo psych hybrid.
In The Garden is a studio creation first and foremost, but it’s knack for ghostly surrealism isn’t too far from how Goldfrapp recorded their debut in a cottage. Picture Annie as a half-woman half-ghost haunting an old mansion or farmhouse in the English woods, and you have the right idea. She hasn’t sounded so haunted before or since. If the cover is any hint, she tones down her usual powerful belts and soars for chilly falsettos and sinister, abstract poems. They tend to echo off into the music in a way that would do wonders for a 4AD group; now I wish Annie sang in such a band. The lyrics follow suit:
‘I’m never gonna cry again / I’m never gonna die again’
’Dust is collecting / But she doesn’t notice / counting forever / she’s a calculator’
‘Another change of light / The underlying truth / request to pack it in / no solutions’
Combined with the uneasy, resonant wide-open space distinct to a krautrock giant like Conny Plank (“All The Young”), this is an album full of surprises. The result highlights many interesting parallels between krautrock and early new wave. You’ll hear foresty atmospheric touches, bizarre sound effects, and creeping post-punk twang among other curios Eurythmics left behind within a few years.
For all the weirdness (“Sing-Sing”, filled with samples chattering away and Annie singing in French) and sinister undertones (“Caveman Head” with it’s edgy goth rock tease, the horror-inspired b-side “Le Sinistre”), songs like “Belinda” approach a normal pop-rock sound. Part of me wishes they engaged more with those thrilling goth/experimental hints than these upbeat grooves as a result. Still, you can find some fulfillment for that on the bonus tracks “Le Sinistre”, “4/4 In Leather” and “Take Me To Your Heart”’s live version. As it stands, In The Garden is worthy curiosity for anyone drawn to the oddball early eighties.
On Deep Cuts I highlight notable album-only/non-single tracks, especially if they differ from someone’s usual style.
This lengthy suite should surprise you if you figured Dannii’s music boiled down to a more generic/’b-grade’ Kylie. With the downbeat aquatic synths, dramatic whispers and chilly title refrains, it’s closer to a lost Impossible Princess b-side.
More from Dannii Minogue: “Xanadu”, “Do You Believe Me Now?”
synth pop / dream pop / minimal synth
More like this – Glass Candy’s Beatbox + “I Always Say Yes”, Robert Gorl’s “Mit Dir”, Pink Industry’s Low Technology, HTRK’s “Chinatown Style”, Nouvelle Phenomene’s “Caresse”, Depeche Mode’s A Broken Frame
Some cliched 808 aside, Soft Metals show a great ear for that colder edge of analog synths the minimal wave fans crave without getting obvious. Like their own name suggests, it’s all about the contrast of softness (as in airy/gentle) and metal (as in sharp/gritty).
Thankfully, they’ve cut out most of their debut’s repetition for a subtler and more flexible sound here. Hypnotic arpeggios in the vein of a lost sci-fi OST merge with a slick bass pulse and immersive pads to find a middle ground between EDM’s energy and space music’s weightlessness. The occasional hint of Glass Candy is another plus.
The 100% synth setup is a great balm for Patricia Hall’s already elevated vocals. She has a bit of a dream-pop approach that gives even uptempo moments like the acid-house “In The Air” a sense of flight. Not the most distinct singer of this kind, but refreshing to hear in a minimal synth context.
♥︎ – “Lenses”, “When I Look Into Your Eyes”, “Hourglass”, “Tell Me”
synth pop / dance-pop
More like this – Prissa’s Ni tú ni yo, Bertine Zetlitz’ “Girl Like You”; Annie’s “Greatest Hit” + Endless Summer EP; Sally Shapiro’s ”I’ll Be By Your Side“
Thanks to a lack of English information, I knew little beyond the title of ‘Chilean queen of electro-pop’ the evening I first heard Javiera Mena, but I was right to trust the album’s shower of acclaim. “No Te Questa Nada” (a divine cross between sophisti-pop and Cocteau Twins) proved the perfect match for the fading sunlight outside my window that day, and the grandiose energy of the album’s second half kept me engrossed until the end.
Other highlights include the fierce climax of strings in “Hasta la Verdad”, the endlessly soaring choruses of “Luz de Piedra de Luna” and an A+ Miami-freestyle resurrection in “Aca Entera”. The latter is adorably kitsch but topped with affirming light and sincerity.
As “Aca Entera” demonstrates, there’s something genuine about Mena that sets it apart; like Nite Jewel and Twin Shadow, I get the impression Javiera’s approach comes more from respect for her synth-pop roots than any kind of mockery. Her strong ear for melodies and glittery synths make this a satisfying album.
♥︎ – “Hasta la Verdad”, “No Te Questa Nada”, “Luz de Piedra de Luna”, “Sufrir”, “Aca Entera”
Part of a new column highlighting creative uses of sampling in electronic context.
Lukid’s Lonely At The Top is an example of the huge potential lying in modern electronic music and it’s never-ending connections, through sampling or otherwise, especially when we avoid cliches. Like a mutating creature, it shifts gradually from ferocious water-splashing rhythms (”This Dog Can Swim”) to techno synths shrouded in fog and shattering like glass (“Southpaw”).
One of it’s more emotive songs, “Bless My Heart” makes a distinctive opening by morphing this Evelyn ‘Champagne’ King hit into something both robotic and soulful, emphasizing the shimmer of the e-piano and adding a number of strange (but subtle) down-pitched voices.
electro-disco / synthwave
More like this – Lumeet’s “Metacharm” + “Lyonesse Zero” + “The Lucidist”, Cyber People – “Void Vision”, Laser Dance – “Power Run”, Explorer – Explorer
Finnish synthesist Lumeet’s music is what I hoped Lindstrom’s would be. I’ve tried listening to so many Lindstrom projects yet somehow each failed to excite me. Lumeet, meanwhile, takes a similar cosmic disco style and condenses it into something more melodic and exciting. I do adore a handful of tracks on his first album, but I found the sadly forgotten Lucitania more consistent.
Each song has an endless burst of sci-fi synths, possessing that carefree energy that benefits almost any retro electronic album. A few longer tracks remain but they don’t ramble as much as they did before. “Cloudspinner”, for instance, manages to go for 7 minutes without getting tedious, evolving through dizzying arpeggios and maintaining an entrancing groove through it’s whole length. “Bloom” also stands out by replacing the uptempo rhythms with a mood of calm but whimsical fantasy. I absolutely recommend Lucitania if you have any interest in electronic disco.
♥︎ – “Cloudspinner”, “Bloom”, “Prismweaver”, “EPYX”