2017 – The Year In Review

2017 has been an eventful year in the world of electronic music, particularly here in the UK which saw some of the classic acts back in action. But it also saw the emergence of some talented contemporary electronic acts as well. Here’s TEC’s review of the year along with our contributor’s lists of songs and albums that they rated in 2017…


2017 started off in a strange place for The Electricity Club as it found itself in a position to discard the accumulated baggage of many years and give the site a ‘soft reboot’. With an agenda that was focussed purely on music, it was a foundation that provided a sturdy structure for the months ahead.

January saw Austra make a triumphant return with their third studio album Future Politics. Along with lead single ‘Utopia’, the album was a reflection of our times as we entered into a turbulent period in global politics. TEC’s review summed up the album as “…a more intimate and personal approach than previous outings”.

TEC favourites Lola Dutronic also made a welcome return, first with a sequel to their classic ‘Everybody Loves You When You’re Dead’ (now updated to reflect some of the losses music suffered in 2016 such as Lemmy, David Bowie and Prince). We interviewed Lola Dutronic to get some gain some insight into how the globally distant pair produce their music. The duo also managed to bookend the year with a further release when they released the wonderful ‘My Name Is Lola’.

Vitalic came back with the stunning Voyager album. Pascal Arbez’s crunchy flavour of muscular beats and hook-laden melodies was present and correct on his new outing. Tracks such as ‘Waiting For The Stars’ suggested an unabashed nod to Arbez’s favourite ’70s and ’80s songs with a Moroder-esque beat driving this squelchy and engaging electropop wonder. Meanwhile, ‘Sweet Cigarette’ offered up a homage to The Normal’s ‘Warm Leatherette’.

TEC’s Lost Album series delivered some eclectic choices from the vaults for consideration. This included U96’s Replugged, Kon Kan’s Syntonic and Gary Numan’s 1994 album Sacrifice, a release which Barry Page suggested held the keys to the future: “Whilst the album often suffers from its use of some rather unimaginative and repetitive drum loops, the album put Numan firmly back on track.”

Sweden’s Sailor And I, meanwhile, offered up brooding, glacial pop on debut album The Invention Of Loneliness. TEC also spoke to musician Alexander Sjödin, the brains behind the outfit, who summed up his methods thus: “I use music as a kind of meditation. I get into this mood where I turn everything else off and just run as far as I can every time”.

In March, Goldfrapp returned to the fold with new album Silver Eye. While it was a serviceable outing of the glam synth workings that the duo had traded on previously, it was also bereft of many surprises or challenges. A return to Felt Mountain glories seems overdue.

Throughout the year, we were won over by a whole host of emerging electronic acts that caught our attention. This included the “ruptured melodies” of Jupiter-C (a duo championed by the likes of Clint Mansell). The “multi-utility music” of Liverpool’s Lo Five drew our focus to the wonders of the Patterned Air label. Elsewhere, the electro-acoustic sounds of Autorotation provided their own charm while the crunchy qualities of Cotton Wolf also suggested an act worth keeping an eye on.

With the 8th March traditionally being International Women’s Day, we thought it was time to add a twist to it by suggesting an International Women In Electronic Music Day. While the commentary of the likes of Lauren Mayberry (Chvrches) and Claire Boucher (Grimes) had blazed the trail for a level playing field for women, it was still depressing to see tone-deaf blog articles that were essentially ‘Birds With Synths’ being offered up as support.

One of our choices for that esteemed list, Hannah Peel, managed to deliver two albums of note in 2017. The personal journey of Awake But Always Dreaming (inspired by her family’s encounter with dementia) and also the magical world of Mary Casio: Journey To Cassiopeia – an album which our review summed up as “a testament to Hannah Peel’s seemingly endless abilities to craft new and intriguing ideas out of the ether. It’s a cosmic journey that delivers.”

Hopes were high that Basildon’s finest could deliver a solid return to form with their 14th studio album Spirit. But the album divided critics and fans alike on a release which TEC’s review summed up succinctly: “…as impressive as it is lyrically, it’s an often challenging and unsettling listen that doesn’t quite meet up to its billing as “the most energized Depeche Mode album in years.””

Despite the controversy, Depeche Mode still managed to put on their biggest ever UK show, with over 80,000 attendees at London Stadium in June this year.

Elsewhere, another of the old guard was also facing a productive year. Marc Almond released new compilation album Hits And Pieces, which spanned his extensive career from Soft Cell through to his more recent solo work. Although not as comprehensive as 2016’s Trials Of Eyeliner, TEC’s review suggested “…the new compilation offers a more concise selection of music that still manages to cover Almond’s extensive musical career in fine style”.

April saw TEC looking at the dark wave delights of Dicepeople, whose ‘Synthetic’ offered up “brooding gothic synth melodies against a burbling electronic background”. But their cover of Depeche Mode’s ‘Strangelove’ showed the outfit could also deliver muscular electropop that still retained their own unique style. Speaking to Dicepeople’s Matt Brock in an exclusive interview, TEC discovered the band’s strong cinematic touchstone. “Cronenberg’s Videodrome is another huge influence for us with its exploration of very dark themes involving control, voyeurism and the nature of reality as shown via layers of screens (a recurring theme in Dicepeople).”

Marnie released her follow-up to 2013’s Crystal World in the form of Strange Words And Weird Wars. The album demonstrated the Ladytron member’s knack for tunes, which our review summed up as “…a solid album of contemporary electropop that listeners will find intelligent, engaging and yet also fun. Strange Words And Weird Wars is a continuing demonstration on why Marnie is one of electronic music’s most precious assets”.

The emerging generation of electronic artists kept producing new acts of interest throughout 2017. Pixx (who cropped up on our radar after supporting Austra) released The Age Of Anxiety, which our review described as “an album that offers up a combination of smart pop tunes married with thoughtful lyrics”. Hannah Rodgers, the talent behind Pixx, also addressed the surge of nostalgia and retro acts with a philosophical quote: “There are a lot of people who are just trying to recreate things that have already been done, because they’re almost scared of the way modern music sounds, but we do have technology now that allows us to make quite insane-sounding music. And… we are in 2017”.

Kelly Lee Owens was another emerging artist who released her eponymous debut this year. The TEC review summed it up: “At heart an electronic album, the tracks contained within dart between ambient soundscapes and beat-driven compositions”.

AIVIS, a new act that had come to TEC’s attention via The Pansentient League’s Jer White, delivered their debut album Constellate. As with acts such as Lola Dutronic, AIVIS consists of a duo located in separate countries – in this case Aidan from Scotland and Travis based in Ohio. Their use of harmonies and warm synths led us to conclude that “Constellate is a smooth collection of subtle electropop”.

Irish outfit Tiny Magnetic Pets had a good year in which they released a new album and went on to support OMD. The 3-piece unit had made their UK and European live debut back in 2015 championed by Johnny Normal. Now in 2017 they brought new release Deluxe/Debris to bear. TEC’s review gave the album an honest appraisal: “They’ve got the chops to push the envelope, but there are times on this album where, arguably, the band appear happier playing from a safe position. When they introduce their more experimental side, or opt for a more dynamic approach, Tiny Magnetic Pets shine brightest”.

Voi Vang’s powerful voice and dancepop sensibilities made her one of the star turns of 2017. Meanwhile, Twist Helix woke us up with their “dramatic tunes and big, euphoric vocal melodies”. Our Teclist reviews also had good things to say about Elektrisk Gønner, OSHH and Russian outfit Oddity.

Elsewhere, the classic synthpop acts still had a strong showing this year. Erasure released the downbeat World Be Gone, a more reflective album that was heavily influenced by the troubling political climate (a persistent theme for many other releases this year). OMD returned with the follow-up to 2013’s English Electric with The Punishment Of Luxury. The album wore its Kraftwerk influences on its sleeve for a lot of the tracks, while the title number offered a commentary on commercial culture.

German pioneers Kraftwerk brought their 3D experience back to the UK and TEC’s Rob Rumbell offered his thoughts on their Nottingham concert: “…sensory overload… which left you awe-inspired and breathless”.

Blancmange presented a superb compilation of their first three albums titled The Blanc Tapes which we summed up as “the perfect archive for Blancmange’s often-overlooked musical legacy.” Neil Arthur also delivered new studio album Unfurnished Rooms, which prompted an honest critique from TEC’s Imogen Bebb: “whilst as an album it isn’t always easy to listen to, it makes for a welcome new chapter in Blancmange’s ongoing story”.

Howard Jones also went down the compilation route with the comprehensive Best 1983-2017 which the TEC review suggested: “this 3-CD set will have a special appeal not only to loyal Howard Jones fans, but also perhaps a new audience keen to experience the appeal of this pioneering electronic musician”.

While there were bright moments in the year, the music scene also saw tragedy in 2017 with the loss of Can’s Holger Czukay, trance DJ Robert Miles and Roland founder Ikutaro Kakehashi.

Barry Page provided some long-form features which took the focus to Norway’s a-ha, particularly the side projects that the likes of Morten Harket and Paul Waaktaar-Savoy have embarked on.

Speaking of a-ha, although the idea of an acoustic album by an electronic act seemed absurd, it was a concept that the Norwegian outfit embraced for Summer Solstice. The breath-taking arrangements for classics such as ‘Take On Me’ and ‘The Sun Always Shines On TV’ proved that a-ha still had the chops to surprise people.

Meanwhile, Midge Ure’s own orchestral-inspired approach for Ultravox and his solo numbers resulted in the release of Orchestrated later in the year. TEC’s Jus Forrest summed things up: “As an album, Orchestrated is diverse enough to pique interest. It’s contemporary enough to be relevant, and there’s enough classic tracks to reach out to fans”.

The soulful tones of Fifi Rong returned, this time with a bolder electronic sound on ‘The Same Road’. TEC’s review concluded that the new song “…demonstrates that Fifi Rong is capable of adding plenty more colours to her musical palette”.

Kasson Crooker, formerly of Freezepop, also provided some gems throughout 2017. There was the Gishiki album released under his Symbion Project banner – a release that we summed up as “one of the standout electronica releases of the year.” Meanwhile, he launched new outing ELYXR which was designed to be a collaborative project introducing different singers for each subsequent release. This included the warmth of ‘Engine’ as well as the punchier (and lyrically timely!) ‘Godspeed’.

2017 also delivered a diverse selection of electronic music events that showcased a multi-line-up of diverse acts. May saw Synth Club Presents, which included the ever-excellent Vile Electrodes as well as the sultry delights of The Frixion and the energetic pop of Knight$.

Culled from their 2016 album Ath.Lon, in June Greek duo Marsheaux unveiled a new video for ‘Now You Are Mine’.

Meanwhile, July delivered one of the bigger events of the year with Liverpool’s Silicon Dreams. Combining established artists with newer acts, this year’s event pulled together an all-star schedule featuring Parralox, Avec Sans, Future Perfect, Berlyn Trilogy, Caroline McLavy and Voi Vang. As TEC’s review stated: “The 2017 incarnation of Silicon Dreams serves not only as an evening of entertainment, but also as an example of the importance of grassroots electronic music events. By showcasing both up-and-coming talents alongside more established acts, it’s an event which demonstrates a legacy in action”.

August presented the Electro Punk Party which offered up some of the more alternative acts on the scene. This included Dicepeople, Microchip Junky, Hot Gothic, the dark surf guitar of Pink Diamond Revue and the anarchistic LegPuppy. In fact, LegPuppy demonstrated an impressive schedule of live performances throughout the year as well as releasing songs such as the wry observations of ‘Selfie Stick’ and dance-orientated ‘Running Through A Field Of Wheat’.

The regular Synthetic City event returned, this time at Water Rats in King’s Cross. The evening brought with it some superb performances from the likes of Hot Pink Abuse, Eden, The Lunchbox Surrender, Train To Spain and Parralox (marking their second UK live show this year). The weird and wonderful Mr Vast topped things off and the whole affair was superbly organised by Johnny Normal.

Susanne Sundfør, who released the superb Ten Love Songs album back in 2015, brought a much more challenging release in the form of Music For People In Trouble. The album weaved in acoustic touches, spoken word segments and often unsettling soundscapes. But the epic ‘Mountaineers’, featuring the distinctive voice of John Grant, had an almost physical presence with its hypnotic tones.

The mighty Sparks returned with new album Hippopotamus and delivered a superb live performance in London back in October. The same month, the 22rpm electronic music festival took place. Showcased by record label Bit Phalanx, the event featured the likes of Scanner, Derek Piotr, Digitonal, Coppe and a truly stunning performance from Valgeir Sigurðsson.

The Sound Of Arrows brought out their newest album since 2011’s Voyage. Stay Free offered a much more grounded approach to electropop than the dreamy moods of their previous release, but still managed to deliver some cinematic pop moments. Their pop-up shop to promote the album was also a nice touch!

PledgeMusic has proved to be a vital lifeline for many artists in recent years. It’s a funding option which delivered for everyone from Ultravox to OMD. Gary Numan used the platform to fund his 21st studio album Savage (Songs From A Broken World) which provoked critical praise and which Jus Forrest suggested delivered “a flawless production of intrigue; a soundtrack that brings together the atmospheric, the lonely, the eerie and, in places, the added drama of colourful crescendo”.

Empathy Test, an electronic duo from London, also chose the PledgeMusic route and achieved such success that they decided to release not just one, but two albums together. The stunning Losing Touch and Safe From Harm revealed a band that could combine mood and melancholy in an impressive collection of songs. TEC’s conclusion that compositions such as ‘Bare My Soul’ demonstrated a band capable of delivery that was both “mythical and melodious”, also showed the heights that contemporary electropop can ascend to.

As the year drew to its conclusion, there were still some gems to pop up on the radar. Canadian sleazy synth specialist TR/ST teased us with ‘Destroyer’, a nocturnal affair that (along with the year’s earlier release ‘Bicep’) paved the way for a new album due in 2018.

Scanner, who had delivered a stunning performance at the 22rpm event, also unleashed The Great Crater, an album of mood and often brooding unease. Our review’s final conclusion was that “The end result is less listening to a body of work and more being immersed into a physical experience”.

Curxes brought us the hypnotic delights of ‘In Your Neighbourhood’, which paved the way for new album Gilded Cage.

As the winter months drew to a close, we took a look at Parralox’s latest release ‘Electric Nights’, which proved to be a euphoric floor-stomper. Meanwhile, Norway served up Take All The Land, the debut solo album by Simen Lyngroth which TEC’s review summed up as a “beautifully well-crafted and intimate album”.

Perhaps one theme that 2017 demonstrated time and time again is that electronic music continues to evolve and thrive, particularly at the grassroots level where emerging acts are less focused on being a pastiche of the bands of 40 years ago. Instead, there’s a fresh and dynamic scene which has seen a genre looking to the future rather than the past.

This doesn’t scribble over the achievements of decades of previous electronic acts. That history and legacy continues to exist, but perhaps the idea that acts don’t need to be beholden to the classic acts is a concept that younger artists are more willing to entertain.


CONTRIBUTOR’S LISTS

IMOGEN BEBB

Top 5 Songs Of 2017

OMD – The Punishment of Luxury
Gary Numan – My Name Is Ruin
Sparks – What The Hell Is It This Time?
Alphaville – Heartbreak City
Tiny Magnetic Pets – Never Alone

Top 5 Albums Of 2017

OMD – The Punishment of Luxury
Tiny Magnetic Pets – Deluxe/Debris
Blancmange – Unfurnished Rooms
Superdivorce – Action Figures
Brian Eno – Reflection

Favourite Event of 2017

OMD at Liverpool Empire in October.

Most Promising New Act

Superdivorce


JUS FORREST

Top 5 Songs Of 2017

Among the Echoes – Breathe
Tiny Magnetic Pets – Control Me
John Foxx and the Maths – Orphan Waltz
Gary Numan – My Name is Ruin
Gary Numan – Bed of Thorns

Top 5 Albums Of 2017

Jori Hulkkonen – Don’t Believe in Happiness
Gary Numan – Savage (Songs from a Broken World)
Tiny Magnetic Pets – Deluxe/Debris
Hannah Peel – Mary Casio: Journey to Cassiopeia
Richard Barbieri – Planets + Persona

Most Promising New Act

Spaceprodigi


BARRY PAGE

Top 5 Songs Of 2017

OMD – Ghost Star
Waaktaar and Zoe – Mammoth
Depeche Mode – Cover Me
Simen Lyngroth – The Waves
Alexis Georgopoulos and Jefre Cantu-Ledesma – The Marble Sky

Top 5 Albums Of 2017

Waaktaar and Zoe – World Of Trouble
Simen Lyngroth – Take All The Land
a-ha – MTV Unplugged Summer Solstice
Empathy Test – Losing Touch
Sparks – Hippopotamus

Favourite Event of 2017

Depeche Mode at London Stadium, June 2017

Most Promising New Act

Simen Lyngroth

Best reissue

China Crisis – Working With Fire and Steel


JER WHITE

Top 5 Songs Of 2017

Tiny Magnetic Pets – Semaphore
2raumwohnung – Lucky Lobster (Night Version)
Sylvan Esso – Die Young
Pixx – I Bow Down
Vitalic (ft. David Shaw and The Beat) – Waiting for the Stars

Top 5 Albums Of 2017

2raumwohnung – Nacht und Tag
The Moonlandingz – Interplanetary Class Classics
AIVIS – Constellate
Jupe Jupe – Lonely Creatures
Vitalic – Voyager

Favourite Event of 2017

Kraftwerk in 3D at the Usher Hall, Edinburgh.

Most Promising New Act

AIVIS


PAUL BROWNE

Top 5 Songs Of 2017

Susanne Sundfør – Mountaineers
Empathy Test – Bare My Soul
Austra – Utopia
TR/ST – Bicep
Curxes – In Your Neighbourhood

Top 5 Albums Of 2017

Empathy Test – Safe From Harm/Losing Touch
Hannah Peel – Mary Casio: Journey To Cassiopeia
Austra – Future Politics
Susanne Sundfør – Music For People In Trouble
Sailor & I – The Invention Of Loneliness

Favourite Event of 2017

Synthetic City 2017

Most Promising New Act

Empathy Test


OMD + TINY MAGNETIC PETS Live at Guildford

OMD return to Guildford after a lengthy absence

The last time Orchestral Manoeuvres In The Dark performed in Guildford was in June 1985 at the Civic Hall, prior to the release of their sixth studio album. In fact, this particular stop on the Crush tour was only the third time they had played in the large Surrey town; the first time as support to Gary Numan back in October 1979. The Civic Hall has since been demolished, and replaced on the same site by the impressive G Live venue; the scene of a largely triumphant 11th stop on the band’s 18-date UK tour.

Tiny Magnetic Pets

Support arrives courtesy of three-piece electronic act Tiny Magnetic Pets who deliver an impressive half-hour set that exhibits their array of electronic influences; largely pitched between David Bowie’s experimental late ’70s period and the more melodic inflections of acts such as Kraftwerk. Indeed, the Dublin-based trio have been picking up some very favourable attentions in Germany, with former Kling Klang resident Wolfgang Flür featuring on their second full-length album Deluxe/Debris. But it’s OMD’s Andy McCluskey who can be credited with adding the Irish band to the bill; a further endorsement of the band’s proliferating synth-pop credentials.

The Pets’ 7-track set largely draws from this well-received album, with their attractive singer Paula Gilmer providing the primary focal point; confidently straddling the stage as keyboardist Sean Quinn studiously unravels a broad palette of electronics. Percussionist Eugene Somers, meanwhile, cuts an equally engaging figure; providing some impressively taut rhythms. Gilmer possesses both an engaging personality and an appealingly pure voice, and the relaxed Saturday night crowd respond positively.

Highlights include the captivating ‘We Shine’ (from 2015’s Stalingrad EP) which, pleasingly, sounds like a Yazoo/Visage mash-up. And then there’s the epic set-closer ‘Semaphore’. The band recently told The Irish Times: “We hit the stage like a rock band. People expect politeness, but that isn’t us – you have to rock it out when you go on stage.” The performance of ‘Semaphore’ certainly displays an exciting degree of showmanship, as well as acting as a summary of the band’s multitude of influences; bristling with Die Mensch-Maschine electronics, the foreboding noir of early Human League, and the more abstract leanings of Neu! It’s an enjoyable set and 30 minutes soon pass… as good a sign as any of a decent support act.


Orchestral Manoeuvres In The Dark

“As a band we still have a lot of energy to tour the world, but for obvious reasons we can’t play everything, so what we choose to play each night is always a constant dilemma” – Paul Humphreys

With such a rich and varied back catalogue to choose from, the dilemma of putting together an OMD set list must get increasingly difficult; particularly in view of the fact that some of their more recent output has being favourably compared with the best of their earlier work. Tonight’s set list features a deft selection of hit singles, deep cuts and newer songs.

By the time OMD’s set is announced with an ephemeral, yet effective, introductory track (a hybrid of two of their latest album’s more abstract pieces, ‘Art Eats Art’ and ‘La Mitrailleuse’), capacity in the standing area has swelled to near-capacity. There’s a relaxed vibe amongst the audience, who can almost sense that something special is going to happen.

Whilst The Punishment Of Luxury doesn’t quite tick all the boxes in the same way that its predecessor English Electric did in 2013, the album has given the band their highest chart placing since 1991’s Sugar Tax, and attracted some of the best reviews of their career. So it’s not a great surprise that the band possess the confidence to kick the set off with two six-minute-plus numbers. Singer Andy McCluskey stands with his back to the audience as the brooding melancholia of ‘Ghost Star’ begins proceedings, slowly building from its La Düsseldorf-meets-‘Stanlow’ foundations. It’s an unusual starting point, but it works. It’s followed by the more uptempo – and playful – ‘Isotype’. Bursting with Kraftwerkian melody, it offers a welcome contrast to the set opener’s more melancholic tones.

McCluskey straps on his bass guitar for a double-header of set staples ‘Messages’ and ‘Tesla Girls’, the latter the source of much amusement – both on and off stage – as keyboardist Paul Humphreys fluffs some of his backing vocals (“He started singing different words at the end!” a bemused McCluskey tells the crowd). The band recover for the 3-chord (C-G-F) tour-de-force that is ‘History Of Modern (Part One)’, and McCluskey invites the crowd to pogo along to a song that’s essentially about the end of the world. One of the highlights from the band’s 2010 comeback album of the same name, it’s no surprise that it’s become something of a regular set fixture in recent years.

‘One More Time’ is another 3-chord affair (G-C-D) that offers the band another opportunity to showcase their new album (thankfully we’re spared the rather gimmicky ‘Robot Man’). On record it’s somewhat stilted and formulaic – like Arcade Fire at their most pedestrian – but it works brilliantly in a live setting, with Humphreys’ glistening synth work particularly impressing.

One of the interesting facets of this tour is the set list vote, which offers fans the opportunity to vote for a song to be played from a choice of three. Tonight we’re offered ‘The New Stone Age’ and ‘She’s Leaving’ from Architecture & Morality and ‘Pandora’s Box’, the band’s last Top Ten hit (in 1991). McCluskey tells us it’s a close vote, with 8 points separating third from first place… but it’s ‘She’s Leaving’ that wins through (by a single vote).

A brace of lead vocals from Humphreys (on ‘(Forever) Live And Die’ and ‘Souvenir’) allows McCluskey some respite before the show’s “pastoral” section, which features both ‘Joan Of Arc’ singles and some excellent drumming from Stuart Kershaw on both tracks. McCluskey may not quite dance like an “electrocuted aardvark” these days, but his seemingly boundless energy is impressive as he cavorts the stage during the finale of ‘Maid Of Orleans’. “Just a little tip for you,” he tells the crowd. “Don’t try that in front of your teenage kids!”

As a contemporary version of ‘Time Zones’ blasts through the sound system, the four members of the band venture front of stage for a special version of the classic b-side ‘Of All The Things We’ve Made’ (later revamped on 1983’s Dazzle Ships), with Kershaw pounding a single drum. For the purists in the audience, who favour the band’s pre-Junk Culture output, it’s a moment to savour.

Somewhat disappointingly, previous album English Electric doesn’t get a look in as the band integrate newer songs into the set. We get the band’s rather bland new single ‘What Have We Done’ (Humphreys’ touching lament about putting his dog to sleep) and, later in the set, there’s the Kraftwerk-fuelled title track, ‘The Punishment Of Luxury’, featuring some slightly clumsy observations about modern consumerism. The crowd love it, though, and gleefully join in with the “hey! hey! hey!”s.

It’s a crowd-pleasing array of hits that close the main set, including the Caribbean-flavoured ‘Locomotion’ (a single that has divided fan opinion over the years). Martin Cooper, always a steady and reliable presence on stage, performs note-perfect saxophone parts on ‘So In Love’, as well as a wonderful keyboard solo on ‘Sailing On The Seven Seas’, the song that kick-started OMD’s ‘solo years’ in the 1990s. The set ends with a rapturously-received ‘Enola Gay’.

The band soon return for a decidedly curious encore. On record, ‘Walking On The Milky Way’ is a wonderfully produced slice of Beatles-flavoured meditation on growing up, but it doesn’t quite work in a live capacity, and the absence of the Hannah Clive vocal sample doesn’t help. But, the run-through of OMD’s last significant hit receives an enthusiastic response as McCluskey stoops to a recumbent position on the stage. “I’m still twenty-four in my head,” he reassures the crowd. “But my knees are telling me I’m fifty-bloody-eight!” Fortunately there’s some respite as McCluskey reverts to bass-playing duties for ‘Secret’ and Humphreys’ fourth lead vocal of the night. And there’s just enough fuel in the tank for a typically energetic version of ‘Electricity’, the band’s “oldest and fastest” song.

I’ve seen OMD perform many times over the years, but rarely have I seen them so relaxed and confident on stage. Whilst the absence of charismatic drummer Mal Holmes – due to health issues – is still felt amongst many fans, in Stuart Kershaw they have a more-than-able deputy who adds a fresh (and powerful) dynamic to the band’s live sound. It’s the sight of a reenergised band enjoying a well-deserved career renaissance, and long may it continue.


OMD set list: Ghost Star / Isotype / Messages / Tesla Girls / History Of Modern (Part One) / One More Time / She’s Leaving / (Forever) Live And Die / Souvenir /Joan Of Arc / Maid Of Orleans (The Waltz Joan Of Arc) / Time Zones/Of All The Things We’ve Made / What Have We Done / So In Love / Locomotion / The Punishment Of Luxury / Sailing On The Seven Seas / Enola Gay / Walking On The Milky Way / Secret / Electricity

Tiny Magnetic Pets set list: All Yesterday’s Tomorrows / Shortwaves / Not Giving In / Never Alone / We Shine / Here Comes The Noise / Semaphore


OMD are currently on a UK and European tour. Dates as follows:

UK
Nov 15 Bexhill – De La Warr Pavillion, Nov 17 Manchester – Acacdemy, Nov 18 York – Barbican, Nov 19 Glasgow – Royal Concert Hall, Nov 21 Birmingham – Symphony Hall, Nov 22 Gateshead – Sage.

EUROPE
Nov 25 Erfut – Traum Hits Festival, Nov 26 Hamburg – Grosse Freoheit, Nov 28 Berlin – Huxleys, Nov 29 Leipzig – Haus Auenesse, Nov 30 Munich – Tonhalle, Dec 02 Offenback – Stadhalle, Dec 03 Dusseldorf – Mitsuibishi Electric Hall, Dec 05 Tilburg 013, Dec 06 Antwerp – De Roma, Dec 08 Lausanne – Les Docks.

http://www.omd.uk.com
http://www.omd-messages.co.uk

All photographs, courtesy of Marija Buljeta Photography

www.marijabuljeta.com
www.altvenger.com

Many thanks to Marija Buljeta and Sara Page.


TINY MAGNETIC PETS – Deluxe/Debris

Warm electropop from the Pet Shop Toys…

Quite how electronic music entered a sudden renaissance period in the past 10 years is something that’s ripe for commentary and discussion. Certainly, there’s been an active contemporary electronic music scene in recent years that appears to show no signs of slowing down.

One of the bands to emerge during this fervent period has been the Dublin-based trio of Tiny Magnetic Pets. Consisting of Paula Gilmer, Seán Quinn and Eugene Somers, the outfit have established themselves through a series of EP releases and their 2009 debut album Return Of The Tiny Magnetic Pets.

The band cite the likes of Low-era Bowie, Brian Eno, Neu!, Boards Of Canada, Kraftwerk and OMD as influences. As inspiration goes, that’s a solid and eclectic list to draw from and has now led the band to release their latest long-player in the form of Deluxe/Debris on the Happy Robots label (the outlet that also gave us Pattern Language).

Deluxe/Debris delivers a collection of serviceable electropop numbers through a definite desire to embrace a warm, analogue sound and Gilmer’s whispery, wistful vocals. ‘Lost My Guiding Light’, like much of the material on the album, leans heavily in the pop direction. The combination of shimmering guitars and electronics slots in effortlessly atop a slick, smooth production.

The album also boasts collaborative efforts with former Kraftwerk member Wolfgang Flür, including the dynamic ‘Radio On’. Here, thumping electronic rhythms and sweeping melodies allow Gilmer to really stretch her vocal talents. There’s a robust, crunchy foundation to this composition that brings to mind the ‘lost’ electropop outfit Mirrors and is one of the album’s finest moments.

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Deluxe/Debris also serves up a series of intriguing (mostly) instrumental numbers that appear to serve as breakpoints. This is typified by the atmospheric warmth of ‘Cloud Sequence’. Then there’s the plaintive piano melodies and Mellotron moods of ‘Cold War Neon’. Here, the composition presents a moment of reflection, complete with an oddly evocative French dialogue that drifts in and out of the piece.

The subtle, slow-burning appeal of ‘Here Comes The Noise I (Pink)’ segues into the more muscular ‘Here Comes The Noise II (White)’, which has a percussive warmth that suggests elements of OMD.

There’s a particular warmth and robustness to album closer ’Never Alone’ (the second of the Flür collaboration tracks) which rounds things off with style.

More recently, Tiny Magnetic Pets have been selected as support for OMD on the pioneering synthpop outfit’s forthcoming Punishment Of Luxury tour. It’s an element of approval that suggests the 3-piece are making the right noises, as well as presenting an opportunity for the band to reach a broader audience.

As an album, Deluxe/Debris presents several flavours that gives a very diverse ensemble. They’ve got the chops to push the envelope, but there are times on this album where, arguably, the band appear happier playing from a safe position. When they introduce their more experimental side, or opt for a more dynamic approach, Tiny Magnetic Pets shine brightest.

Nonetheless, this album showcases a band that’s still unfurling their feathers and suggests that they’re on a journey that’s going to deliver some memorable electropop in the future.


Deluxe/Debris is out now on Happy Robots Records.

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Tiny Magnetic Pets are supporting OMD on the following dates:
23rd October: Vicar Street, Dublin, Ireland, 24th October: Mandela Hall, Belfast, 29th October: Empire Theatre Liverpool, 30th October: Colston Hall Bristol, 1st November: Cliffs Pavilion, Southend On Sea, 2nd November: Regent Theatre, Ipswich, 3rd November: Cambridge Corn Exchange, Cambridge, 5th November: De Montfort Hall, Leicester, 6th November: Royal Concert Hall, Nottingham, 7th November: Sheffield City Hall, Sheffield, 9th November: The Hexagon, Reading, 10th November: O2 Guildhall, Southampton, 11th November, G Live, Guildford, 13th November, Roundhouse London, 15th November: De La Warr Pavilion, Bexhill-On-Sea, 17th November: Manchester Academy, Manchester, 18th November: York Barbican, York, 19th November: Royal Concert Hall, Glasgow, 21st November: Symphony Hall, Birmingham, 22nd November, The Sage, Gateshead.

Ticket details via http://www.omd.uk.com/shows