FROM THE PORT TO THE BRIDGE - THE STORY OF THOMAS LEER AND ROBERT RENTAL

Port Glasgow is not perhaps the first place you think of when you start preparing a list of Scotland's most influential music hotspots, but as the forthcoming exhibition From The Port To The Bridge shows, it certainly should be near the top of that list. From an electronic music point of view, it surely has to be at the top. 

The exhibition tells the story of Robert Rental And Thomas Leer both of whom were born in Port Glasgow. They moved to London in the late 1970's and became deeply involved in the post punk scene. Rental's Paralysis and Leer's Private Plane along with The Normal's Warm Leatherette/T.V.O.D. are three key electronic post punk singles, all released close to each other and all still sounding as fresh as they did on release. Rental and Leer then collaborated, releasing the outstanding album, The Bridge on Throbbing Gristle's Industrial Records in 1979. This is a hugely important album as its influence spreads far and wide from early Depeche Mode and New Order to industrial electronica. The Bridge is perhaps overlooked in favour of early Cabaret Voltaire or Human League in any discussion about the early U.K electronic scene and that is grossly unfair.

Robert Rental and The Normal live in 1979 (c) Robert Chang

Robert Rental became friends with Mute boss Daniel Miller, the pair having met at a Throbbing Gristle gig. They toured together in 1979 supporting Stiff Little Fingers on a Rough Trade tour and playing a couple of shows in Paris. A single sided live album was released on Rough Trade in 1980 and it's a really interesting record well worth checking out. The pair's relationship also led to Robert releasing a single on Mute, the superb Double Heart (MUTE10) but that record marked the end of Robert's recording career. Sadly, he passed away in 2000.

Thomas Leer's career saw him release a number of solo records, collaborate with The The on Soul Mining and form Act with Claudia Brucken, formerly of Propaganda, in 1987 with an album and singles released on ZTT. There was little heard of Thomas in the 1990's but, following a return to Greenock in the early part of this century, his back catalogue has been reiussed on various labels and today he continues to release previously unheard music via his Bandcamp page.

From The Port To The Bridge tells the story of both of these hugely influential and much admired Scottish musicians. The exhibition features a documentary starring the likes of Daniel Miller, Matt Johnson, Chris Carter and Cosey Fanni Tutti, memorabilia, original material and personal artefacts, the original reel to reel tapes the men used and much more. It is going to be unmissable and is a must see for all fans of electronic music. It is only fair that the stories of Robert Rental and Thomas Leer are told and From The Port To The Bridge will do that and much, much more.

From The Port To The Bridge runs from 2nd to 28th October at The Beacon Arts Centre Greenock. 

RODNEY CROMWELL - FAX MESSAGE BREAKUP E.P.

Rodney Cromwell's The Age Of Anxiety was one of my favourite albums of 2015 and it's still one I play regularly, the dark edge to the album's synthpop remaining interesting and, importantly, hugely enjoyable after multiple plays. Fax Message Breakup comes from the album and it's a track that pays homage to New Order circa Power Corruption And Lies and that is never going to be a bad thing.

The track was inspired by Phil Collins' fax induced marriage breakup many years ago, but mercifully sounds nothing like any of his works. Instead, dark swirling synths, melodica and some quite wonderful lyrics all mix, creating a superb track and one that deserves to be heard and loved.

There are a couple of great remixes of Fax Message Breakup here too.  Happy Robots labelmate Hologram Teen remixes the track superbly, the Hologram Teen's Video Suitors Remix taking the track in a glitchy disco direction and AUW's Obsessive Perfection Remix brings more than a hint of Depeche Mode to proceedings. As a reader of this blog, (1) you'll know that appeals to me and (2) it will certainly appeal to you.

The e.p. is finished off with remixes of album tracks Cassiopeia (the Leaf Library Remix) and Baby Robot (the Chris Frain Remix) which offer cool takes on both tracks. I am a sucker for an album-track-remix-as-single-extra notion. That started off for me with Something To Do (Metal Mix) featuring  on the limited edition 12"of Shake The Disease and it's something many more bands should do.

That needless Depeche diversion dispensed with, Fax Message Breakup is an e.p. you want to have in your life. Rodney Cromwell is one of the most interesting and inventive artists there is on the electronic scene just now - you'll kick yourself if you don;t check him out.

Fax Message Breakup e.p. is available now on Happy Robots Records on cd and to download.

Happy Robots Records http://www.happyrobots.co.uk/entry
Happy Robots Soundcloud https://soundcloud.com/happy-robots

PRIEST - THE B-SIDES EP

I make no apologies for reviewing a new Priest release almost as soon as it comes out. As you'll no doubt know by now, I'm a huge fan of this band and I genuinely think they can't put a foot wrong. This is their first full release since 2015's wonderful self titled debut, and it's a gem. There are many bands who release A-sides that don't even come close to the quality of these B-sides.

Youth, a brand new track, opens the e.p. in a blizzard of icy cool electro, bringing to mind the glorious emotional synths early OMD with a healthy dose of prime Yazoo. This track is up there with Priest's finest and encapsulates what they do best - uplifting synthpop that hits that emotional nerve that only that type of music can. We're The Same follows and, like I've said before (http://almostpredictablealmost1.blogspot.co.uk/2016/07/priest-were-same.html), it adds an edge to the band's sound which is great to hear, although it should be said that this remains a pop song and a superb one at that. The pop theme continues with Dark Sun, like Chrvches at their most bubblegum, before we end on the outstanding Don't Let Go. Imagine New Order era Confusion influenced by the Orlando sunshine rather than the New York electro club scene and you've got Don't Let Go. It's as catchy as you like and a superb end to this e.p.

And that's that. Only four songs, but four songs that immediately remind you just how good Priest are. For me, Youth is the standout here and it's proof that Priest are a band to keep an eye on. Roll on their next release I say. If Youth is the direction Priest are headed, there is surely no stopping them.

The B-Sides E.P. by Priest is available now on ITunes and Spotify. 

Priest Facebook https://www.facebook.com/xpriestxofficial/?fref=ts

INTERVIEW - RODNEY CROMWELL

Rodney Cromwell's Age Of Anxiety (Happy Robots Records) was one of the albums for 2015 for me as I'm sure you'll have read about already. Every listen to it reveals another layer of analogue synth loveliness and, at times, it genuinely brings to mind the likes of peak New Order and Kraftwerk. That's not to say, though, that this is a distinctly retro sounding album. It's as fresh sounding as you'd like and, with each listen, more and more clever pieces of electro production reveal themselves, meaning you want to come back to the album time and time again. If you haven't checked it out yet, then you obviously have to rectify that immediately and when you're doing that, grab the Black Dog remix ep too for even more Cromwell goodness.

I had a chat with Rodney Cromwell, or Adam Cresswell as he's known in real life, recently to find out all about Age Of Anxiety.

APA: Age Of Anxiety is one of this blog's albums of 2015. How did the album come about and what were its inspirations?

RC: Wow. Thanks. I'm genuinely still taken aback that anyone likes it. The album certainly didn't come together overnight. A couple of tracks had been gathering dust on my hard-drive since 2009 when my old band Arthur And Martha split. I really didn't think that I would ever release another record; I sold loads of my gear at a boot fair and started writing a novel instead.

But, there was something about making music that kept on drawing me back in. It became a sort of sonic therapy. During the period I recorded the LP, I had a serious job and mortgage, I had become tied down to the drudgery of London commuting and I had also become a father, which was fantastic, but as you can imagine meant more responsibility. I was also coming to terms with other personal issues, notably dealing with panic attacks and anxiety. So, I suppose the album was inspired by a need to find a creative escape from adult concerns and existential angst. I toyed with the idea of the new songs becoming a second Arthur And Martha record, especially after Alice (a.k.a Martha) recorded some great parts. But, as soon as I had the title Age Of Anxiety that idea really didn't work; the whole album was just too personal, too tied to my own life experiences.

In late 2014, I turned my studio into a nursery, as we had a second sprog on the way, and I decided to just mix the whole thing down to get rid of it - which took about four hours. Before I knew it, I had a melodic lo-fi synth heavy retro pop album in the can, and thanks to some coaxing from friends, I was persuaded to actually release it. I should note that since the record came out I've not written a word of my novel. The literary world can breathe a sigh of relief.

APA: How pleased are you with the reaction the album has had?

RC: Obviously you can't expect to make a left-leaning, alternative, electronic record on ancient gear and get it reviewed in the Daily Mail or featured on Sky Arts, but I am beyond pleased with the reaction. It was barely a year ago that this ethereal, fantastical concept of an album started to look like it might actually happen, and now people are talking about it being the best record I have ever made. It goes without saying that it has been fantastic to have got some great reviews and a load of radio play, and I am incredibly thankful for every piece of exposure, but I have been most touched when people have said that the record has helped them in dealing with their own mental health issues. Clearly I didn't release the record out of some benevolent desire to make the world a better place, but if it has made a few people feel less like they are suffering in silence, then it has all been worthwhile.

Although I have genuinely never sought anything more than cult appeal, I would love nothing more than to sell the last few boxes of CD's currently living under our staircase.


APA: What bands influence you? I sense bits of Kraftwerk and New Order on the album for example.

RC: yeah of course Kraftwerk, New Order, Giorgio Moroder - they are all massive influences. Their music is part of my DNA and I don't think I could ever make a record that wasn't influenced by them. With this album, I wanted the music to be a "safe space"; upbeat, uplifting and familiar enough to counter balance the cynical and world-weary lyrics and, for that reason, there was no attempt to disguise influences, just to enjoy them.

The most positive influence is always when you hear a record that makes you sit up and think "wow, I wish I could have done that" - the sort of songs that inspire you to just keep pushing harder, or quit. The two records I was mostly listening to while making the album were Racine Carree by Belgian megastar Stromae and See You On The Ice by actress/singer Carice Van Houten. Neither of them sound much like my album though, they are just good records with their own sound. This week's listening is mostly Lilies On Mars, Gabe Knox, remi Parson, Hologram Teen, Tiny magnetic Pets, Ummagma, Johnny Hawaii and the new Pye Corner Audio, whenever the kids let me near the record player that is.

APA: One of the things I love about the album is the almost exclusive use of what sound to me like wonderful analogue synths. Have I misheard entirely?

RC: You have heard entirely correctly. I love analogue. So much of music made today is neat digital sequences of ones and zeroes, with vocals pitch-corrected to oblivion and mixes compressed to hell. I wanted to do something that felt a bit more lo-fi, organic and real; to capture some of that lo-fi excitement of the pre-digital age. With this record, there was no big studio, no plethora of special guests, just me and my close friends and family and a load of shitty unreliable thirty year old gear.

In terms of equipment I use, I only own four analogue synths: a Moog Rogue, a Moog Opus 3, a Korg MS-10 and an ARP Quartet. Probably 75% of the synth sounds on the album are from the MS-10 and the ARP. I can't understand artists who feel the need to own loads of synths. There is so much you can get out of just one. I am sure anyone who owns more than a handful is trying to make up for deficiencies elsewhere in their life. There are also a lot of vintage effects on the album; tremelo, delays and phaser mostly. In fact, there is so much phaser and delay on this record, I'm amazed any of it sounds even vaguely in time.


APA: Songs like Barry Was An Arms Dealer and You Will Struggle manage to combine emotional depth with electronics. Do you find this sort of thing difficult? It's too often wrongly said that synths can't generate an emotional feel.

RC: I suppose I must find it easy because I can't say I've thought about it. I've never found it hard to put my heart on the line, whether for songs like Victor Safronov or Bicycle Theives off the first Saloon album or for something like Cassiopeia on Age Of Anxiety which is about the loss of two close friends. The hard part is trying to show emotion without sounding overly earnest, self-pitying or slipping into cliche.

And as for anyone who thinks synths can't display emotion, well they've clearly not spent as much time in the company of synths as I have. My Moog Rogue is like the seventh member of the family, after the wife, the kids and the cats. The washing machine is probably the eighth member.

APA: The remix EP is a wonderful thing too. I love that the remixes are what I'd call proper remixes rather than just a DJ's interpretation which pays no attention to the original track. Was that the intention with the EP?

RC: Thanks. The main intention was to make it a collection of songs that sit together and to make an EP that stands up on its own, where you don't need to skip any of it. All filler, no killer. The difference with making the EP was that by then, people were interested in what I was doing, providing pressure that wasn't there with the album. So in making the EP, I worked with my brother Dom Cresswell who has a music technology degree and was taught by John Foxx, so he really should know what he's doing. In fact, many of the best things I've ever worked on have had Dom's input somewhere. My favourite track on the EP is probably You Will Struggle (Glitchy Disco Mix). With that one, I wanted to prove that I could do something a bit more contemporary sounding, but at the same time sounding like a massive retro hi-NRG track. The Best Of Divine was probably a massive influence on this EP to be honest.


APA: What does 2016 have in store for Rodney Cromwell?

RC: Well there sure as heck won't be a new album! I want to enjoy milking this one. I'll probably do another EP if I can decide which track to pick as the lead. I'm going to do some remixes ; Dom and I have just finished one for the great Canadian band Meter Bridge which was a lot of fun. Mostly, I want to play more gigs though. My band and I have actually only done a handful so far, mainly because I've been too busy with all the other promotional bureaucracy to look for bookings. So, if anyone wants to put us on, please get in touch and save me a job. We are all nice people and we have a very reasonable rider (herbal tea bags, cheap red wine and white kittens etc).

APA: Finally, because this blog started life as a place for me to bore people about Depeche Mode, what's your favourite Depeche Mode track?

RC: Well, Violator is probably the most complete pure synth album of all time (APA - correct!). Every cut is absolutely flawless - the combination of great production, songwriting and an astonishing singer. But, if I had to choose just one track, it would probably have to be one of the Vince Clarke uber-pop numbers, I think New Life probably edges it, but ask me tomorrow and it will probably be a different answer.

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Rodney Cromwell Bandcamp https://rodneycromwell.bandcamp.com/
Rodney Cromwell Facebook https://www.facebook.com/happyrobotsrecords/?fref=ts
Happy Robots Records http://www.happyrobots.co.uk/

THE ALMOST PREDICTABLES 2015 NO.5 - ALBUM OF THE YEAR

So here we are. The final award of this award season which is the biggie - Album of the year 2015. The winner this year, which will be revealed shortly, is one of this albums that comes along every so often that grabs you and strikes a chord, causing you to play it over, over and over again. Before we get to that one though, we've 19 other choice cuts to get through and they start with...

20. Mt Doubt - My Past Is A Quiet Beast

The debut album from Edinburgh's Mt Doubt brings to mind the likes of The National and Radiohead before Thom bought a laptop. It's a wonderful record that is enhanced further when you see Mt Doubt live where the songs take on new life and sound stadium sized. Impressive stuff.
http://almostpredictablealmost1.blogspot.co.uk/2015/08/mt-doubt-my-past-is-quiet-beast.html

19. Paper Dollhouse - Aeonflower

The first of three Night School Records entries on this chart, Aeonflower is a dark, ambient electronics that transports you to places you didn't know existed. A fascinating record

http://almostpredictablealmost1.blogspot.co.uk/2015/05/paper-dollhouse-aeonflower.html

18. Woodenbox - Foreign Organ

Foreign Organ was an album that I played a lot this year. It brought to mind the likes of Mercury Rev's Deserter's Songs in places and in More Girl Than Friend, it gave us one of the songs of the year.
http://almostpredictablealmost1.blogspot.co.uk/2015/06/woodenbox-foreign-organ.html

17. Tame Impala - Currents
The move from psych-rock to an almost wholly electronic sound suited this blog as well as Tame Impala. What, on first listen, is a sprawling album, soon turns into a remarkable piece of work and Let It Happen is just one of those songs - very, very special

16. Kill The Waves - The One That Could Have Been
Kill The Waves basically take elements of bands I love (The Cure, Radiohead), add an impressive indiepop sheen to them and create quite wonderful music. As debuts go, this album was as solid a start as you could hope for
http://almostpredictablealmost1.blogspot.co.uk/2015/04/kill-waves-one-that-could-have-been.html

15. Panda Bear - Panda Bear Meets The Grim Reaper
Every time I listen to this record, I hear something new. It's a stunning thing and tracks like Mr Noah are some of the most original music I've heard in years
http://almostpredictablealmost1.blogspot.co.uk/2015/01/panda-bear-panda-bear-meets-grim-reaper.html

14.  Chvrches - Every Open Eye

Following The Bones Of What You Believe was going to be tricky but Chvrches pulled it off and songs off the quality of the likes of Clearest Blue and Afterglow are quite brilliant. It maybe doesn't have the punch or variety of their debut, but Every Open Eye was a confident, impressive second album.

13. YuTaNi - At The End Of A Day
Another debut album, this time from Connor from Machines In Heaven in solo mode. There's nothing not to love about this record - part ambient, part experimental, all electronic and all lovely
http://almostpredictablealmost1.blogspot.co.uk/2015/07/yutani-at-end-of-day.html

12. Sally Dige - Hard To Please
This collection of intriguing European electronic pop was a real hit with me. Like a darker Yazoo, fronted by Siouxsie Sioux, Berlin based artist Dige produced filled with subtle pop charms.
http://almostpredictablealmost1.blogspot.co.uk/2015/06/sally-dige-hard-to-please.html

11. Turtle - It's a Good Thing
One of Turtle's many releases in a productive year, It's A Good Thing really hit the spot. Part Thom Yorke like experimentation, part pop, part dancefloor, this was a collection of outstanding tunes that confirmed that Turtle is a rare talent
http://almostpredictablealmost1.blogspot.co.uk/2015/09/turtle-its-good-thing.html

10. Hot Chip - Why Make Sense?
This is Hot Chip's best album yet. No fillers, just a focused, punchy album that impresses from start to finish. They sound better than ever
http://almostpredictablealmost1.blogspot.co.uk/2015/05/hot-chip-why-make-sense.html

9. The Deadline Shakes - Zealots
The Deadline Shakes are a Glasgow sextet who make some of the most wonderful music you're going to hear. Not afraid to look for influence among the likes of Sparks or Paul McCartney, they take those influences and add a modern twist to them, producing quite splendid music. Zealots was a real treat and it's an album it's difficult to stop playing. I reviewed it for XS Noize and you can read that below
http://www.xsnoize.com/album-review-the-deadline-shakes-zealots/

8. Miaoux Miaoux - School Of Velocity
In a year of impressive Scottish albums, it's impossible to ignore School Of Velocity. Miaoux Miaoux's sound moved onto a different level with this record and it's as fine an example of electronic pop as you'll hear. Superb.
http://almostpredictablealmost1.blogspot.co.uk/2015/06/miaoux-miaoux-school-of-velocity.html

7. MG -MG
Martin Gore's solo records usually involve a set of beautifully presented cover versions. This time, no doubt inspired by the outstanding VCMG project he undertook with Vince Clarke, he released an album of techno influenced instrumentals that really hit the spot. Europa Hymn was especially beautiful, like a call band to Depeche Mode's most beautiful instrumentals like Agent Orange.

6. Rodney Cromwell - Age Of Anxiety
Do you want outstanding synthpop with a twist of New Order and Kraftwerk? This is for you. Age Of Anxiety is a real favourite of mine and it's a record everyone should hear. Top notch stuff - Barry Was An Arms Dealer may well be one of the great synth pop songs.
http://almostpredictablealmost1.blogspot.co.uk/2015/08/rodney-cromwell-age-of-anxiety.html

5. Apostille - Powerless
Night School Records boss Michael Kasparis unleashes his alter ego Apostille giving us the closest thing there is to a modern Fad Gadget. An incredible record and one I insist everyone on earth listens to
http://almostpredictablealmost1.blogspot.co.uk/2015/04/apostille-powerless.html

4. Beliefs - Leaper
Beliefs produce music that draws much influence from classic shoegaze/late and early 90's indie, bringing to mind acts like The Pixies, Sonic Youth, Ride, My Bloody Valentine and so on. bands you want to hear basically. They add their own twist to it and, with Leaper, they produced a stunning album. Listen to 1992 and tell me I'm wrong
http://almostpredictablealmost1.blogspot.co.uk/2015/11/beliefs-leaper.html

3. Everything Everything - Get To Heaven
I only discovered Everything Everything this year. If a band can produce a track as good as No Reptiles, they'll do for me. Get To Heaven is simply a brilliant album and one of this year's real highlights.

2. New Order - Music Complete
It's a fact that Technique is one of the pillars of music. With Music Complete, New Order essentially nearly matched Technique.  This was a surprise in many ways and what a surprise. Rejuvenated, refreshed and as important as they have ever been
http://almostpredictablealmost1.blogspot.co.uk/2015/11/live-review-new-order-o2-academy.html

And the album of the year is...

1. Priest - Priest
http://almostpredictablealmost1.blogspot.co.uk/2015/08/priest-priest.html

Priest are Madeline Priest and David Kazyk, an Orlando based duo who this year released an album that absolutely blew me away. Priest is a synthpop masterclass, an album that is perfect from start to finish. Using 80's electronic sounds as a reference point, Priest manage to capture all that is wonderful electronic pop and the album is a joy to listen to. The song Waiting For The End To Come is the standout. It's as if someone decided to create the perfect synthpop song - it has everything you'd want and it feels timeless, much like the album as a whole. It's not too often that albums come along that genuinely move you - Priest was one such album and it's a deserved Album of The Year. Madeline took the time ot have a chat about the record and you can read that below. First though, treat your ears to Waiting For The End To Come




APA: Congratulations on winning the Almost Predictable for Best Album . How's 2015 been for you?

MP: Thank you so much! We are honoured. 2015 has been pretty great - between releasing our full length record back in May and our tour in September and early October, we've been pretty stoked about everything, And all our supporters have been amazing, to say the least.

APA: How have you found the reaction to the album - it seems to have gone down very well.

MP: Everyone's reception has been pretty great! That's always a nice feeling. The whole release took a bit longer than originally anticipated, so the wait was difficult because we wanted our fans to hear it. It was worth it in the end though. When we finally released The Game back in February, we were very excited because we felt it was the perfect representation of what we'd been working on and gave an idea of what to expect. The support through shows, blogs, social media and whatnot was overwhelming, but in a good way. It's all very humbling.

APA: The whole album is superb, but if I was only allowed to pick one track it would be Waiting For The End To Come. It feels like a timeless electronic pop song, Tell us a bit about it

MP: That's one of my favourites as well. It's kind of just a longing love song but still has that feel good vibe to it as well. Makes me feel like I'm in an angsty 80's teen movie!

APA: And if you could pick one track from the album, what would that be?

MP: I'd honestly have to pick Waiting For The End To Come. It's so difficult to actually choose because I love Broken and Staring At The Walls as well. I go through phases. Dave would definitely choose White Nights which I also love.

APA; What or who are your songwriting influences?

MP: I've had so many musical influences, past and present. But a lot of times, it's just feelings from experiences, places and people. I just kind of draw inspiration from all over the place.

APA: You toured the US in Autumn this year. How did you enjoy that and what was the response to the gigs?

MP: Yes, we finally had out first little tour! It was a great experience. Dave's hone on tour before, but this was my first time. I'd never been to any of the cities except Atlanta, so it was fun seeing new places. The responses were pretty great, It was so fun meeting people who came to see us and those who didn't, but liked the show anyway. One thing I never announced was that I actually got really sick three or so days in - fever and chills and shit. Luckily we had a few days between shows, so I was able to get somewhat better before performing in Chicago. That was kind of a bummer, but the gigs and people made up for it tenfold. We met so many awesome people and I look forward to going back to each city.

APA: Glasgow where this blog is based is fast developing a reputation for electronic music lead of course by Chvrches who you're no doubt familiar with. Are you a fan?

MP: Of course! I love them! I actually just saw them back at the end of October. They came to Orlando the day after my birthday so that was a present to myself. It was such a fun show - I love Lauren Mayberry.

APA: What are Priest's plans for 2016? More touring? If so. any plans to visit the UK?

MP: We have some things in the works, so we are absolutely hoping and planning to do some more touring, and of courtse I would absolutely love to come to the UK. really hoping we can make that happen at some point. But, other than touring, we are working on new material and are very excited about it!

APA: Finally, this blog started life as a Depeche Mode blog, so there has to be a DM question. What's your favourite DM track?

MP: I'm so bad at choosing things like this (see fourth question!) because there are so many good ones, I'd have to say Personal Jesus and Enjoy The Silence. I love both of those videos too.

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You can't argue with an DM choice that picks the greatest song of all time ever Enjoy The Silence can you? Thanks very much to Madeline for taking the time to chat. I can't wait to hear what Priest come up with next.

The same goes for all the acts I've featured in this post, the previous 4 Almost Predictables 2015 posts and in all my posts this year. What started off as a place for me to bore the world with endless Depeche chat has turned into something I never thought it would become and, as a result, I've got into so much amazing music both from home and abroad and met so many cool people. I hope that 2016 will see me carry that on and thank you for taking the time to read what write. It means so much to me, genuinely.

Here's to 2016!

LIVE REVIEW - NEW ORDER, O2 ACADEMY, GLASGOW, 19 NOVEMBER 2015

Music Complete is already rightly regarded by many as one of the great New Order albums, a spiritual successor to 1989's mighty career highpoint Technique. One of the most thrilling aspects of all this is the new vitality New Order have and that vitality was abundant at last night's show at the O2 Academy in Glasgow. I've seen New Order a few times, I've seen many, many gigs and this gig is the best I've ever seen New Order play and is undoubtedly one of the best concerts I've seen. This is more than a late career renaissance - this is New Order in their absolute prime.

Opener Singularity set the tone perfectly. What is already a driving track, mixing guitars with electronics like only they can, was transformed into a pummelling opener that got the packed venue going straightaway. It was some start and then they played Ceremony which is just about as good as anything at all gets. That song never loses its edge and is one of the most thrilling things you'll hear live. Mind you, the two couples who spent most of the gig talking until Blue Monday came on might disagree. Why do people do that? £40 for a ticket and all you do is chat to someone who can't hear you. Baffling and rather annoying. Anyway, I digress.

The show was in its stride straightaway and Crystal carried that on effortlessly. The film and lightshow are worth noting at this point. Most tracks had their own films and they all complimented the songs perfectly. The lightshow too was amongst the best I've seen. The band were regularly silhouetted leaving the music and its accompaniments as the focal point and it worked perfectly. A frankly spectacular version of one of my all time favourites 586 followed Crystal leading into Restless and Lonesome Tonight, the old and new merging perfectly. The way the Music Complete tracks seamlessly gel with the older classics says so much for this album.  Just when you thought this gig couldn't get any better, they then played Your Silent Face. I could have cried and might have done if I hadn't been so sweaty (it was like an oven in the venue). Your Silent Face is simply one of the most beautiful songs of all time.

New and old then mixed again with People On The Highline and Tutti Frutti both louder than war, dance epics that got the whole room moving as one. Even people at the bar were dancing. Following them with a belting Bizarre Love Triangle nearly took the roof off the place. No matter how much I try, I just can't get into Waiting For The Sirens' Call even when it is played in remixed form to fit the set so that was a slight lull, but the end of the main set more than compensated for that - Plastic, The Perfect Kiss, True Faith and Temptation. I'm repeating myself slightly, but it is worth pointing out that, amongst three of the greatest songs ever written, Plastic didn't sound out of place at all. Any chance to hear The Perfect Kiss should be taken and this current versions is as good as any they've done. True Faith always immediately takes me back to listening to it in my bedroom when I was 15 and it never fails to send armies of shivers down my spine. Following that with an epic, stunning versions of Temptation was almost cruel as it could easily have reduced many in the room to gibbering wrecks of joy. Thankfully, we all held it together and the room almost exploded with energy in what I saw people saying on Twitter post gig was one of the best live versions of Temptation ever. It's hard to disagree. Mesmerising.

The encore initially saw emotions of a different kind. Atmosphere was simply spellbinding. Footage from Anton Corbin's video interspersed with pictures of Ian Curtis and Joy Division played on the screens and the song was its usual stunning self. It has that rare ability to make you feel that you are the only person in the room, despite the heaving, sweaty masses around you. A truly intimate, magical moment. Love Will Tear Us Apart, again using footage of Joy Division and Curtis, followed and it took on a celebratory feel, somewhat at odds with the song I guess. A celebration of Ian Curtis, Joy Division and music generally. Our music, our bands. The talkative couples were then rewarded with a closing Blue Monday which still thrills despite its familiarity. A great end to what was a simply sensational show.

10 out of 10, 5 stars, perfection. 

EYES OF OTHERS - NIGHTWALKING EP

I've already highlighted Eyes Of Others as one to watch both on here and on one of my other homes, Scottish Fiction. Proving that Edinburgh is as fertile a ground for electronic music as Glasgow is, Eyes Of Others produce striking synthpop mixed with a dancier feel and it just works. Their new e.p. Nightwalking is released today (6 November) and from beginning to end, it's a joy.

Opener When It Suits moves from 80's influenced synths to the type of soaring, slightly melancholic pop the Pet Shop Boys once specialised in and it sets the e.p. off on the right tack immediately. Rugged Bunch Of Hunks, which is the most Pet Shop Boys title the Pet Shop Boys have never used, is another superb track. Again, there's an 80's feel to the synth sounds but there are also distinct New Order like vibes, almost sounding like a lost Power, Corruption & Lies track in places which is ace. It's followed by the laid back synthpop meets dreampop Vibrates Inside You which is in one moment all floaty atmosphere and then in the next a powerful, guitar led wall of melody that is quite magnificent. We then end on Middles Meet which has a definite feel of early Depeche Mode to it both musically and lyrically, and, from this blog, that is nothing more than a high recommendation.

Nightwalking is an impressive addition to what is already an impressive back catalogue and it highlights the talent Eyes Of Others have for atmospheric, thoughtful synthpop. Definitely one you want to hear

Nightwalking e.p. by Eyes Of Others is out now on Club Fandango/INgrooves and is available from all the usual digital retailers including ITunes

Eyes Of Others Facebook https://www.facebook.com/myeyesofothers/?fref=ts
Eyes Of Others Soundcloud https://soundcloud.com/eyesofothers

NEW BANDS 2015 NO. 18 - EYES OF OTHERS

Edinburgh's Eyes Of Others recently featured on Volume 6 of the Almost Scottish Fiction e.p. with the brilliant Binary World and that was my own introduction to the band. The solo project of John Bryden, Eyes Of Others produce a brand of electropop that immediately brings to minds the likes of New Order and Depeche Mode in their electronics meet dance music phases, Hot Chip, Kraftwerk and more. It will works quite marvellously. 

The band's key track thus far is the sublime Never Complain which sounds like a modern day take on The Man Machine in one 6 minute track and it's a song I've been playing over and over again for days. It's one of the best new electronic tracks I've heard in ages - have a listen:

Now you've heard Never Complain you'll be hooked so go and have a listen to the superb Dysfunctional which you'll find on Eyes Of Others Bandcamp page. I've no doubt that, like me, you'll quickly become an Eyes Of Others fan.

The good news is that you don't have long to wait for new material as the Nightwalking e.p. is due for release on 6 November. A full review will follow but having already heard it, I'm pleased to say that it's excellent. Keep a look out for Eyes Of Others - with music this good you're going to be hearing an awful lot more about them

Eyes Of Others Bandcamp https://eyesofothers.bandcamp.com/track/dysfunctional
Eyes Of Others Facebook https://www.facebook.com/myeyesofothers?fref=ts

RODNEY CROMWELL - BLACK DOG

Rodney Cromwell's Age Of Anxiety album is one of the finest electronic records of the year (see here) and, without spoiling any surprises, is pretty much a shoo in for a highly placed finish in this blog's Top 20 albums of the year come December. It's clear from the album that Rodney knows how an electronic record should be put together and the release of the Black Dog e.p. (released on Happy Robots Records) shows that he is well aware of one of the other rules of electronic music - a remix e.p. is always a good thing. This particular e.p. is a wonderful thing

The title track of the e.p. is the last track on the album itself. It's here in two forms, Version and Extended Version. Both remixes are by Rodney Cromwell himself and are really cool takes on the track. Version highlights the original's Peter Hook like bass and New Order circa Low Life and Brotherhood sequencers, adding a dancier texture to it and presenting an alternative but superb version of the song. As you'd expect, and as you'd hope for,  Extended Version is exactly what it says it is and, given that it is generally accepted by people who get this sort of thing that extended versions of songs are what 12" singles were designed for, that is a very, very good thing indeed. 

Sandwiched between those two mixes are two remixes of standout album tracks. You Will Struggle (Rod's Glitchy Disco Mix) adds an army of sequencers and drum machines and takes the track on a disco adventure very successfully. It brings to mind classic 12" remixes from the days when that type of thing was constructed with care rather than phoned in by a listless D. J. The highlight of the e.p. is Barry Was An Arms Dealer (AUW's North-Poindexter Remix). Arguably, Barry.. is the best track on Age Of Anxiety and this take on it removes the innocent Speak & Spell era Depeche Mode feel and replaces it with an initially part ambient, part Kraftwerk feel before turning it into the sort of moody electronics mid 80's era Depeche aimed for. It's tremendous. 

If you already have Age Of Anxiety (and why wouldn't you?) then this will be right up your street. If you don't have either release, then all you have to do is go and get both. You'll kick yourself if you don't.

To get the e.p. head to Rodney Cromwell's Bandcamp page https://rodneycromwell.bandcamp.com . If you're quick you'll be able to get your hands on one of the 10 limited edition promo cd's which I can of course highly recommend.

RODNEY CROMWELL - AGE OF ANXIETY

As an Electronic Sound subscriber, I heard Rodney Cromwell's superb Barry Was An Arms Dealer in the August edition and fell in love with it straightaway. It's a track that merges the simplicity and pop nous of early synthpop with a modern edge and is amongst one of the finest things I've heard this year. You can listen for yourself below. Having investigated Rodney further I quickly ended up with his album Age Of Anxiety and all its label Happy Robots Records catalogue. It's an outstanding album and one that I can't recommend highly enough for fans of synthpop, electropop or whatever you want to call it.

The brief The Internationale kicks the album off before the early Hot Chip like Cassiopeia lands the first blow on your ears. Waves of soothing synths give way to treated vocals and New Order like bass before the song wraps up, returned to the synths of the start. There are a couple of recurring influences throughout the album to my ears, namely Power Corruption & Lies era New Order and Vince Clarke in his early days with the likes of Depeche Mode's Speak & Spell or Yazoo's Upstairs At Eric's but they don't become overbearing at all. Rodney takes the pure pop of Clarke and mixes it with the harder edge, at least by comparison, of New Order but puts his own stamp on it. The next track is the aforementioned Barry Was An Arms Dealer and that heralds a run of quite outstanding songs.

You Will Struggle takes the synthpop formula the album is quickly perfecting and adds an I Feel Love style bassline to the mix, creating a sublime track. The cousin of Kraftwerk, One Two Seven follows, as good as anything else here and then the New Order go pop of Fax Machine Breakup arrives mixing melodies, melodica and some rather superb lyrics ("I sold some records but not a lot/I won't be floating Happy Robots") to superb effect. At this stage, I found myself enjoying the album more than I'd enjoyed many albums recently as it is just irresistible. Baby Robot comes next, and the titular robot is clearly a fan of New Order's Temptation which is no bad thing and the penultimate The Blue Cloud takes us back to the disco albeit one which is DJ'd by Ralf Hutter and Giorgio Moroder. We then end on the near 7 minute Black Dog  which displays the influences I've perhaps already overdone, but ends the album perfectly.

It's a brave move to release an album that relies on a certain era of synthpop as translating that effectively is difficult and has led to a number of rather useless releases in the recent past. This album though is basically flawless and is one that within which every fan of electronic pop will find something to love. It only seems a matter of time until Rodney's prediction is Fax Machine Breakup is proved wrong. Go and listen to this album right now.

LIVE: MIRACLE STRIP, LE THUG, APACHE DARLING - KING TUTS, GLASGOW 21 JULY

Over two weeks in July, King Tut's Wah Wah Hut is hosting a series of gigs under the heading Summer Nights. Throughout the month, over 50 Scottish bands and DJ's are playing at the venue, showcasing the best new music Scotland has to offer. The full list of gigs is pretty impressive and can be viewed here - click

Last night, I went along to a show to see three of my favourite new bands. Unfortunately, I had to leave before AmatrArt came on which was a pity as I'd have love to have seen them too. Before I go on to the bands, I've got to say how much I enjoyed the Podcart DJ set betI cween bands too. Superb tracks including Bjork's Violently Happy which never fails to make me make me at least consider dancing. Nice work Halina

Miracle Strip (dodgy pics above and below my own) kicked off the night and started us off well. Their Miracle Milk  is something I've been playing a lot recently and it was really pleasing to see how well the songs came across live. Took A Running Jump was a highlight for me, mainly because it's one of the best tracks I've heard in a while but the whole set worked. The band's combination of New Order and early Cure like atmospherics with vocals that marvellously bring to mind The Magnetic Fields is a winner and tracks like Lemon Sorbet  and Girl Gang were just fantastic.

Le Thug followed Miracle Strip and their set was just as good as I hoped it would be. Their Place Is ep is a stunner and it's one that I've played over and over on my clear vinyl 12" copy. I have to mention that as clear vinyl is surely the coolest of the coloured vinyls. Anyway, their set featured most of the e.p.with Pals  and Basketball Land sounding just as menacing yet noisily beautiful as the do on record. Live, the band generate a quite mesmerising sound and it was a really powerful show that I couldn't take my eyes off. There's a shoegaze influence at play no doubt but more towards the louder end of Ride or My Bloody Valentine where noise meets melody and works incredibly well. Le Thug are a special band no doubt.

Next up were blog favourites and recent interviewees Apache Darling who, despite writing about a lot, I'd never managed to see live. Like Le Thug, Apache Darling's live show more than matched up to their releases and they gave the crowd half an hour of quite marvellous synthpop. Opening with the superb More Than Me the band grabbed the crowd's attention from the off and the whole set was excellent. More Than Me aside, one song that really stood out for me was Go which was almost Yazoo like and that can only ever be a good thing. The band have recently spent a good bit of time honing their live sound and that work has paid off. The combination of their crisp electropop with Stefanie's frankly brilliant voice is a winner and you really want to catch them live if you can. The fact Andrew manages to play three live synths with no backing tracks is no mean feat either. It was a great set and it really got the whole room going, 

As I said at the start, apologies to AmatrArt who I really wanted to see but couldn't stick around for. I gather their set was unsurprisingly great and I'll make sure I catch them next time. In the meantime, if you can, try and get along to one or two of the remaining King Tut's Summer Nights and enjoy what is clearly something of a golden age for Scottish music. Keep an eye on all the bands above too as you will want to see them live as soon as you can

Miracle Strip Facebook

Le Thug Facebook

Apache Darling Facebook

AmatrArt Facebook

ROLEMODEL - CLAIRE EP

Normally, I only tend to review either Depeche Mode, Glasgow bands and so on but I'm making an exception for Rolemodel, a Canadian band who followed me on Twitter ( @davidjmcelroy or @almostprdalmost by the way) and piqued my interest. They are a dream pop electronic band based in Toronto, originally a solo vehicle for Jordan Allen but now expanded into a full band. Their six track e.p. Claire was released on Hand Drawn Dracula Records and I'm fallen in love with it

Combining a distinct 80's synth influence, thankfully from the good parts of that genre with the likes of New Order, some shoegaze and some stupendous pop melodies, this e.p. is one to hear. Title track Claire is a moody, atmospheric track with a chorus that deserves to burst from every radio in the land and it sets the tone perfectly. Teen Idol continues the moody atmosphere, in a way like Cold Cave without the sneer, before the brilliantly named, and indeed brilliant, Trans Canda Misery lands on you with a lead synth line that Gary Numan in his Tubeway Army days would be proud of. It's icy synth perfection and quite, quite wonderful. The New Order go pop of Who You Know follows and the next track Cruel Intensions displays a similar influence, though this time Joy Division, albeit more in their Atmosphere moments. The e.p. then ends with Until which rounds it off perfectly.

For something that came out of the blue to me, Claire  really is a great release and, as I said, something you really should hear. Jordan Allen's voice matches perfectly with the music and general feel of the songs throughout and, altogether, Claire really is something of a hidden gem of an e.p.

Rolemodel - Claire is released on Hand Drawn Dracula Records and is available on their bandcamp page here https://handdrawndracula.bandcamp.com/album/rolemodel-claire

Rolemodel Facebook https://www.facebook.com/rolemodelband?fref=ts

Rolemodel wesbite http://rolemodelband.com

CASUAL SEX - A PERFECT STORM

Casual Sex return on 6 October with a new double A side 7" released on We Can Still Picnic Records.  One of the two tracks, A Perfect Storm, is being previewed on diymag.com and you can hear it by clicking right here CLICK . For the sake of completeness, the other A side is Pissing Neon.

The song is propelled along on an instantly memorable post punk/early New Order riff and features the band's trademark louche vocals and a killer melody. It's really, really worth hearing. The overall sound is more confident than last year's fantastic Bastard Beat e.p. which, let's face it, was a pretty confident sounding gem of a record as it was. 

The band are headlining a show at the CCA in Glasgow on 6 October to celebrate the release of the single. Try and get along if you can.

Causal Sex Facebook https://www.facebook.com/casualsexmusic?fref=ts

We Can Still Picnic Facebook https://www.facebook.com/wecanstillpicnic?fref=ts