| EY Tune of The Week: La Roux - Under My Thumb Words: Babooshka |
| 28th August 2010 |
This is well worth a listen on that 'bridge' as we wait in anticipation for the second album that has already had rumours of 'acoustic directions'...be afraid electroheads!
Fan Death - Reunited
Posttod - Dead in the Universe
Posttod are 'new new' with an edge and of course there's some of that Andersson 'feel' in this track, how could there not be? It's experimental, mesmerising and ultimately a noise to like, unlike some of the electro minutia that gets sent in asking to be covered.
With so many good acts coming from these parts, things are heading towards 'Electronically Nordic' right now. The video is taken from a short film by Spike Jonze's 'I'm here' and that alone is quite fascinating.
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| Ou Est Le Swimming Pool to release debut album Words: Orac |
| 25th August 2010 - Updated |
(With thanks to John P)
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| Fever Ray - Mercy Street Words: Babooshka |
| 24th August 2010 - Updated |
The signature sound of Karin Dreijer Andersson's spooked up perception of this track gives it a pulsating, tribal and unearthly beat. Gabriel wrote the original in tribute to the 'confessionalist' poet Ann Sexton who is also worth checking out if you're so inclined.
Coming from her perspective, most notably with her previous track 'Seven', you can see why this song would resonate with her; mundane details crafted so eloquently but with a tinge of madness. Hopefully there will be an 'art pop' video to go with this intriguing publicity picture for the release very soon.
Fever Ray @ Myspace
Its really chilled feel took me right back to school with The Beloved and 'Sun Rising'. After a few listens and a prompt from Orac, it also sounds astonishingly like the soundtrack bassline from John Carpenter's 'Assault On Precinct 13' cult film way back in the 70's. Definitely worth keeping an eye on...even if I am personally finding the masked 'thing' a bit tiresome now...this particular remix is goosebump inducing with a slow build up loveliness and makes up for the current trend in electro for 'no faces'.
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| Ou Est Le Swimming Pool's Charles Haddon RIP |
| 21st August 2010 - Updated |
The band have released the following press statement on Myspace that has also appeared on the BBC: |
| Yazoo & Electrobelle Words: The Electrolord Orac |
| 15th August 2010 |
For more info, please have a look at the rather striking Electrobelle website.
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| The Human League Biography Part 2: 'Our music beats the best...' |
| 13th August 2010 - UPDATED |
In other League related news, The Black Hit of Space has a fascinating interview with Dave Allen who was an engineer and programmer for the 'Dare' and 'Love & Dancing' recording sessions. |
| ZTT Winners Words: The Orac |
| 8th August 2010 |
The following EY readers shall receive packages from ZTT shortly:
Art of Noise winners:
Lifted from her album 'People's Temple', 'Miracle' was one of Babooshka's lovely choice tracks when she reviewed the album a few months back.
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| Sunday Girl - Self Control / Bim / DJ Hell featuring Bryan Ferry - U Can Dance Words: Lady Babooshka |
| 6th August 2010 |
With a haunting voice and understated glam look, Jade Williams aka Sunday Girl is definitely one to keep an eye on. She has bought the track up to date, lightening it with some sparkly synth and a melancholy innocence around a Goldfrapp inspired video.
Quoted on The Guardian online, Jade dispels what most would think is a Blondie inspired name with the clarification that it was a nickname after a part time job in a pet shop...'I worked every Sunday but nobody knew my name so they just called me Sunday Girl'...cool name even if it's 'came about story' is a little unbelievable.
Update: EY has been alerted to a mistaken 'original' identity...with thanks to B. Castensoe of Denmark. The original 'Self Control' was recorded by Raffaele Reifoli under the name RAF.
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| Hurts, Robyn & Heaven 17 Words: Orac |
| 3rd August 2010 |
No smiling from Britain's brightest pop duo in the new video however which could be down to the fact that it was reportedly shot on location in what looks like a sewage plant in Margate.
We probably prefer 2009's more effective promo for the track with the funny dancing girl who makes the briefest of cameos in the new effort but this is still worth watching for the slightly tweaked single edit.
Since we've been distracted by a wave of UFO sightings above EY HQ over the past few weeks and the usual consumption of sparkly cava, fine company and missing time (aliens!), a few of you have been writing in about EY coverage. Alin Sand who emailed us with this: 'Hi Orac! Robyn released two of the best electropop singles of the year (Dancing On My Own / Hang With Me) and not a word from EY?'
'Hang With Me' is released on September 5th here in misty Blighty.
In a discovery that Martyn describes as the 'Holy Grail', the find includes 8-track recordings of Penthouse tracks and several BEF instrumentals. Martyn added that H17 'are completely thrilled' by the find and the deluxe edition is expected to be released in late Autumn in time for the P&P tour.
Related links:
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| Propaganda Exclusive... 'A Deluxe Extended Secret Wish Q&A' with Ralf Dorper Words: Orac |
| 24th July 2010 |
On the morning that EY was blipping 'P-Machinery', we received an intriuging email with the words: 'For once in 25 years... I am prepared to answer some questions - if any..' EY: How did it all begin for Propaganda MK1 and how did your demos come to the attention of Paul Morley at ZTT?
Propaganda Mk1 was a trio consisting of Susanne Freytag, Andreas Thein and myself. I started Propaganda after being ousted from Die Krupps early in 1982.
The name Propaganda actually was adapted from a track I had originally written for Die Krupps. Parts of its lyrics later re-appeared in Disziplin.
Having an EP in mind we recorded 2 Tracks stemming from material which evolved during sessions I conducted with Andreas in Cologne. The 2 tracks - included some 'dub' mixes - featured the voice of Susanne and were in German: 'Disziplin' and 'Sunde'. The former being inspired by TG's 'Discipline' without being a real cover version... We intended to get a release in the UK possibly on the label which had re-released my weird early German solo-recordings in England (Operation Twilight Rec). I sent a tape of these first Propaganda recordings to Chris Bohn aka Biba Kopf. He was a NME collegue of Paul Morley and actually had championed all my weird early stuff in the NME at that time (something like 3 singles of the week in a row...). Chris informed Morley/Horn and when they signaled interest I put the negotiations about the EP on hold. All that took place pre-ZTT in 1982. A contract was signed in 1983 (when ZTT started to exist as a company).
That new strategy involved creating new material - and expanding the line-up to make it pop - Propaganda Mk2: Suzanne brought in her friend Claudia - and I discovered Michael Mertens who was percussionist at the Dusseldorf Symphonic Orchestra - by the way he also had studied composition with Karl Bartos of Kraftwerk.
EY: 'Dr Mabuse' was released in 1984 but the follow-up single 'Duel' was pushed back to the following year with some citing the success of Frankie Goes To Hollywoood for the delay. Was this frustrating for you at the time and was Trevor Horn originally assigned to produce 'A Secret Wish'? One element of frustration was the 'tightness' of ZTT/perfect songs. They did take quite a while to realize that they had to make a financial input as we needed some kind of own equipment to pre-produce and compose properly. Michael and myself spent a publishing advance on equipment (among others the legendary PPG-system). In Dusseldorf we prepared new material (took quite a while). But these demos - of 'Dream Within A Dream', 'Duel' or 'P-Machinery' - very much resembled the recorded versions. On 'Dream Within A Dream' we tried out a trombone player from the DUsseldorf Orchestra Michael worked in. EY: Steve Lipson was choosen to produce the album and did a fantastic job with the sonics behind the mixing desk. Were these recording sessions exciting to be a part of ?
But Lipson was essential and the perfect choice. I do not believe that we influenced DM or PSB which were around already - and DM were surely banging on metal because of Einsturzende Neubauten (or should I say Die Krupps) not because of Propaganda.
Was the album actually completely and 'ready to go' in 1984?
The process was speeding up after they had enabled us to do our own demo-ing.
EY: Shortly after the album's release, it was quick to gather rave reviews and admiration in the industry for its technical excellence and the album was regarded by many as being ahead of its time. Was there a sense that you had recording something special that would endure and appeal many years later?
But often what is special does not appeal.....straight away.
EY: Looking back to 1985, the year of Live Aid and the depressing return of 'stadium rock', do you think the album would have faired better commercially if released a year later?
It was really successful in France and French-Canada, Southern Europe and - South America!
EY: It's difficult for the listener to see how 'A Secret Wish' could be improved musically or technically. When you look back at the recordings 25 years later, is there anything you would tweak or change?
EY: Which tracks are you most proud of? Are there any tracks from the recording sessions that didn't make the final tracklisting?
In my opinion it would have been much more of a statement to have a cover version of TG's 'Discipline' on the album instead of 'Sorry For Laughing'. And I think that too much of Susanne somehow got lost in production. EY: If EY could have a signature tune then it would most certainly be the final third of the original extended Dr Mabuse mix (7m.05s into the mix that was sadly ommited from the SACD release a few years back). We think that it is the greatest sequence of electronic noted and synth chords ever recorded. Do you remember much from the recording of this track and how this mix came about?
And a good choice - would be mine as well. It's harking back to early stages when 'Mabuse' was much more of a track without song structure - and the original equipment used in programming 'Mabuse' were 808 and 303. But not to forget chords: meisterworks from moodmaster Mertens. EY: On the subject of remixes, ZTT were infamous for issuing multiple remixes of the same track within weeks of each other on different formats. Were all of these mixes ever presented to you for your approval or did you too have trouble keeping up with the sheer amount of mixes? Ralf: These were hectic times at ZTT. And it can be so time consuming to keep the artist informed... Ever wondered about our bad hair days on the sleeve-shots for 'A Secret Wish'? EY: 'Duel' is a spinetingly pop gem and was a modest hit whilst becoming the BBC's theme for it's RAC rally sports coverage througout 1985.
Because the initial concept was to have the duel (of noise and nice) fought out within the song. Maybe a middle-part-duel between dissonance and harmony - very dialectic, brain-heavy - a song for PM. Didn't quite work out - but luckily at that time there was still the concept of a single. So the dueling parts became A- and B-side.
Ralf: This is a tricky topic as you might be aware that there was legal action back in the 80s! So I should say that it was an expensive experience recording the album...... And we recouped in the 90s. Not sure if we recovered from the experience however...
JVA: Tell us about the interaction between Steve Lipson and the band in terms of the actual production and execution of the music, ie who chose the sounds and rhythms, and arranged the songs etc It has to be said that after we were enabled to work on the material in Dusseldorf a lot of the material kept most its structure. But Lippo - and not to forget the THeam! - were essential to provide another sound dimension we would not have achieved otherwise. EY: 'P-Machinery' boasts two impressive cameos with bleeps provided by David Sylvian and distinctive chants from Heaven 17's Glenn Gregory. How did you get them on board for this single?
Sylvain's input was much more than a cameo - he provided much more than bleeps - we owe him, very modest man - and a genius...
And Glenn was around a lot - we shared the management of Heaven 17 at that time. EY: Just months after the release of 'A Secret Wish', ZTT took the bizarre decision to release the remix album 'Wishful Thinking' against the wishes of the band. Ralf: Logic? - the only logic involved was a solid state (muso inside joke!). How dare Morley! - It certainly was not up to the standard set by 'Love & Dancing'. EY: As a fan I wasn't too impressed with this remix album and it seemed like a wasted opportunity and odd considering how good the ZTT remixes had been up to that point.
I did not expect that from an 'independent' label - and felt a bit like The Clash when they had their 'Complete Control' -situation with CBS. EY: A lawyer would later advise you that Propaganda were never likely to make any money from the ZTT contract. Is this why you decided to split the band rather than carry on and had work began on a follow-up to 'A Secret Wish'? Ralf: Might be money for some - artistic freedom for others - But I am not going to comment on that topic. The lawyer was Brian Carr who helped John Lydon to get what was due to him from Malcom MacLaren... And for the record: We had the same contract as FGTH/Holly had - and it is known how the High Court of Justice judged in that matter...
But what has to be understood about the post-Secret-Wish-period is that the band (but Claudia) got a court injunction by ZTT which meant frozen accounts and no possibility to work (in music) anymore - i.e. no recordings, no live activity. Propaganda was silenced! - the singer continued. EY: Propaganda would later surface again in 1990 with only one original member and a pleasant enough single 'Heaven Give Me Words' in 1990 that was surprisingly written by Howard Jones. Ralf: We should concentrate here on 'A Secret Wish'. But as there are so many wrong (wikipedian)descriptions of the post-ZTT period, here are some more facts: At the end of the 80s we came to a compromise with ZTT - and exchanged back catalogue for freedom! - i.e. the injunction was lifted. After years (!) spend with legal matters we (i.e. Suzanne, Michael, and myself) were released from the ZTT contract - and kept the name. Although - in my opinion - the impetus was gone and too much energy had been spend on legal matters we wanted to continue as Propaganda - to prove that ZTT did not finish us off. So in fact a new deal with Virgin Records was signed in 1988 - by a band which consisted of three Mark 2 Propagandists, a new singer (which in a way Susanne had casted) and two Simple Minds (Brian and Derek). This new Propaganda started recording in 1988 what in the end (among the collateral Susanne and myself) became '1-2-3-4'. Do not recall how Howard Jones got involved - I was listening to LWR on the radio... Actually Suzanne does the vocals on what I consider the best track on '1234' - 'Vicious Circle'. And I got bored by nice pop during this phase and became 'Dr Acid' - and then re-joined the rhythm of machines... EY: Were you invited by ZTT to be involved with the new 25th anniversary edition of 'A Secret Wish'? Claudia was in touch. And the curator Ian Peel did a very good job. Respect. EY: In the late 90s, the original line-up began to record demos that including guitar parts from Martin Gore who was a big fan of 'A Secret Wish' with Claudia back on vocals. I am not in a position to answer that as I was not involved. But maybe this is an answer as well.
EY: What are relations like now with former band members? You reformed briefly for two live appearences, one for German TV and a superb rendition of 'Dr Mabuse' at Wembley Arena for a Trevor Horn celebration in 2004. Is there any chance of future live outings for the original line-up?
Did we reform? We got together and waved... But unlike Abba, Ace of Base or Fleedwood Mac we didn't have any interband-fiddling around. So relations are fine and we leave the attorneys at home when we meet.
We can imagine a sold-out gig in the South Bank arts center ;) As we are German we can imagine a sold out Olympiastadion. With regard to that concept : I do not get it and frankly I consider it to be quite pretentious. An album is an album and a live-show is a live show in my opinion. The dynamics of an LP (2-sides, no more than 45 min) differs from the needs of a live performance - unless you have a song-cycle. But I enjoyed John Foxx doing 'Metamatic' recently in London - or Heaven 17 when they played 'Penthouse & Pavement' in Cologne. On the other hand Throbbing Gristle playing totally new material in Berlin I found also exiting.
EY: Electronic music has seen something of a chart revival lately with a move back to 'traditional' analogue synths and big hooks. Are there any acts that have impressed you lately? That must have been the British charts... I love CLIENT who delivered their best works maybe a bit too early to get well deserved chart recognition. And wonderful (as always) is Arthur Baker's programming for Hurts 'Wonderful Life'
EY: Who are your biggest influences in electronic music and what do you personally consider to be the greatest electronic album of all time?
All that happened in the 70s but didn´t really make me start making electronic noises. That trigger definitely was Daniel Miller's 'Warm Leatherette'.
The greatest album? Any of these: - Wendy Carlos Soundtrack of 'A Clockwork Orange' +++ Ralf: Puh - that was quite an extended deluxe anniversary Q&A...
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| Propaganda competition! Text: Orac |
| 22nd July 2010 - Updated |
The League will be sharing the stage with those other Sheffy legends Heaven 17 on Saturday night for the Galway Arts Festival and readers in Ireland can find out more here. (With thanks to Stig)
The next single Stateside will be 'In For The Kill' which was one of the biggest selling singles last year here in the UK and one of the few to top sales of one million.
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This much admired Propaganda debut represented a massive technological leap forward in electronic music from the moment it was released in 1985. 
| EY Single of The Week: LCD Soundsystem - I Can Change Words: Babooshka |
| 14th July 2010 |
Post punk disco seems to be their thing and with no hiding of their musical influences, this track sounds like a bit of Talking Heads mixed in with some Yazoo. 'Tell me a line make it easy for me
But it's a goody nonetheless and in keeping with the sometimes cringy disco sentiments of pop; the boys as guilty as the girls of this even if they hide behind robots and underpasses.
Frontman James Murphy is also known for his eccentric humour and bitter lyrics and although they can be a bit 'hit and miss' for EY, his love and homage to early 80's music will ensure some great electro pop tunes will be found on the new album 'This is Happening'.
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| Introducing...Monarchy Text: Orac |
| 8th July 2010 |
Band photos of this electro duo don't reveal too much, Monarchy like wearing face masks ('the Slipknot of electro!' says Babooshka) and it's a theme that is pretty much carried over to the rather brilliantly directed promo video with robo-dancing medieval 'knights'. This all could be inspired by New Order's equally barmy but colourful 'True Faith' video of 87. Nil points though to Ou Est Le Swimming Pool who tried to do something similarly lavish for their fab new single 'Jackson's Last Stand'.
'EY VOL 1' wins a European design award!
'Electronically Yours' is a compilation (of) tracks by european electronic music band(s). The artwork mainly consisted of two illustrations combining the theme of commitment and personal attachment with that of the robotic mechanism, elements related to the title of the CD and the type of music: a faithful dog and a - almost horse like- creature. Congratulations to all those involved and deluxe copies of 'EY VOL 1' can be purchased online via MNS.
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