Upcoming Kolour Kult Performences!

Attention everyone! The Kolour Kult have listed two NEW upcoming shows this winter:

• December 30, 2011 at The Salon in Providence, RI
• December 31, 2011 at AS220 in Providence, RI

Merry Christmas from Neo Electro

New Mitch Murder Album!

Mitch Murder is the morbid stagename for Swede Johan Bengtsson's moody synth project, taking inspiration from Deloreans and practically everything '80s.

In 2010, Mitch Murder released his first full-length album, Burning Chrome, a collection of bright synth instrumentals, with a slight funk edge a la Paul Hardcastle. The highlight for me is the beautiful "Beach Interlude". I think Mitch's definite strength is Jan Hammer-like slow jams that are hypnotic and lulling.

Just this month, Mitch Murder has released a follow-up which is even better - much more concise and focused.  Mitch has moved beyond the Delorean and Back to the Future obsessions and into "new" territory. Current Events is centered around major trends and events of the 1980s, complete with evening news soundbite samples mixed in - including the rich, avuncular voice of none other than Mr. Ronald Reagan himself, albeit eerily announcing his failed "Star Wars" missile program, officially known as the Strategic Defense Initiative (SDI). But it's Mitch's selection of soundbites that are truly excellent and actually deeply enhance the music and his message.

Sampling started in the 1980s (when else) and is all but cliche now. Mitch manages to make it interesting again because he's selected some genuinely interesting sound bites, such as the opener, "Looking Back", when a reporter, I assume in 1989, cleverly notes at the end of the decade how the second half of the 20th century was so neatly packaged into clear eras every ten years, culminating in the very distinctive 1980s, which did end rather neatly on January 1, 1990 (though one could argue it had an extended stay until 1992 when George H.W. Bush was kicked out).

The best example of Mitch's chilling use of soundbites is on the magical "Palmer's Arcade". The song is a lush, dreamy, emotional slow groove that builds to a fascinating mid-section sample, where he interjects a reporter (Dan Rather? Tom Brokaw?) interviewing a presumably young teenage man about video game arcades. "Did it change your life Greg?" the reporter asks. "Oh yeah. Now my life centers around the game. Right now that's my thing," answers the young guy, enhanced by an echo Mitch has added on for extra effect. I've never heard that interview and it's truly fresh, honest and insightful. I was caught off guard by how innocent it sounded. People having fun, playing, living, just enjoying their time on planet earth. Mitch Murder has done it - he's captured the 1980s in an album, and it's not forced over overblown but subtle and reflective. It was a special time.

It will be hard to top Current Events, complete with it's SDI-inspired artwork (Mitch and I must be on the same wavelength as I just watched a vintage youtube vid on SDI this past week, where I'm positive the image he used came from). But it's been fun to watch a neo-electro artist outdo themselves. I look forward to whatever Mitch Murder has planned next.


Buy the album here and check out his soundcloud page here, including a promo mix in support of Current Events.

The World of CFCF

CFCF is the stage name for a Canadian synth project by Michael Silver.

In 2009, CFCF released their first and so far only album, Continent, a wonderful collection of ambient instrumental dance tunes, borrowing bits and pieces from vintage songs and textures from the '80s and '90s and patching them together into inspiring new wholes.

The opener "Raining Patterns" sets the mood immediately, awash in contemplative '80s synthesizers and Japanese waterfall chimes. "Monolith" is an ode to piano-driven early '90s house. "Letters Home" dabs in worldbeat. And then "Break-In" brings us back to the sequencer-fueled '80s a la Tangerine Dream. "Snake Charmer" works a nice spindly guitar gothic rock vibe of New Order or Echo and the Bunnymen.

Continent is relaxing but not slick, the songs organic but futuristic, one melting into another. It's the truly the best of both worlds: melded together into a beautifully coherent, fresh vision.

Here's hoping CFCF can bring us more of the same, or something different. Just something.

Moment of Electro Zen Part IX

New Kolour Kult Song!

Just since my last post about The Kolour Kult they have released a new song called "Princes"!

This is another excellent and emotional track that I instantly recognize from their live show I attended a few weeks ago. "Princes" finds The Kolour Kult deep in big smoldering mid-tempo groove-mode, with a great tin percussion hook, thick production and impassioned vocals that reach the heavens above.

I guess it's not technically a part of their new EP, but rather a stand-alone digital download. Who knows what will be next? It's a real treat.

Grab it for free from their website here.

Keep it up guys!

Moment of Electro Zen Part VIII

New on the Radar: Kolour Kult + Live Performence Review

The Kolour Kult are a two-man synth-pop act based in my capital city of Providence, Rhode Island. Consisting of Martin Van Etten on keys and guitar and Jack "Prime" Wilmarth on vocals, their music is a loving ode to New Romantics, Pet Shop Boys and Italo Disco - but with a special homage to eccentric British electronic superstars of the '80s. After all, we can thank England for more than a fair share of memorable music during the Reagan-Thatcher era.

I was fortunate enough to catch Kolour Kult perform live Saturday night, without knowing what I was getting into. My friend Megan and I were hanging out when she mentioned there was some "party at Legend Bicycle with music". I asked what kind of music, leery I'd be trapped listening to folk rock for several hours, but she responded, somewhat unsure herself, with "dance music?". It took a few minutes later for me to decide I wanted to go.

Inside, the party was just getting started. Megan and I awaited the start of some music act, their equipment tucked cozily in the corner of the dark shop amid hanging wheels, lounge chairs, neon signs and assorted bike gear.

When vocalist Jack Prime took the center of attention, I immediately recognized him as someone I had seen before at a party over the summer, but knew nothing about; I didn't even remember what his speaking voice sounded like. Jack has this great, highly expressive, Sean Penn-like face, with a small mouth and intense eyes framed by a prominent chin and parted close-cropped school-boy haircut. He's distinctive looking but you can't pigeonhole him right away. However, I will now forever identify him as one thing and one thing only: a master entertainer.

Kolour Kult started the night by delving into this amazing, highly danceable synth-pop concoction that I swore was a Pet Shop Boys cover but which later turned out to be a rendition of their own original, "Sentimentality Fails". It was a bizarre, almost surreal experience seeing Kolour Kult perform. They had the same gusto you only see in music videos on youtube. I really never thought I would ever see anything like this in my lifetime.

Martin behind all the gear was a typical chilled-out '80s keyboarder like Tony Banks, Vince Clarke and Chris Lowe; all heart, mind and soul plugged into the machinery and focused on delivering the electronic goods. The keyboards and drum machine patterns were sharp, unabashedly retro and really professional sounding.

Jack's impassioned delivery, which included standing on chairs, kneeling on the floor, looking into the heavens, squinting his eyes and flirting with female onlookers, really nailed everything home. There was zero awkwardness or hesitation. Jack and Martin were true performers. I was blown away at the whole, complete, thoroughly convincing package. The thought and effort and talent is very evident.

Kolour Kult also performed two covers and they were exceptional as well. The first was a brilliant slow-tempo, guitar-led, almost Prince-esque R&B version of The Outfield's 1985 hit "Your Love". It was totally unexpected, believe it or not, because it's a rock song and they are more dance, but I was deeply moved by it. The second cover and last song of their set was a rendition of The Human League's "Don't You Want Me", including a duet with Liz Isenberg filling in the female verses.

Then they ended. Jack was down to just a t-shirt, having stripped his jacket, tie and button shirt during the performance (a moment of hilarity ensued when he tried to hand the crowd his clothes but the cuff buttons were preventing a complete transfer so I nudged Megan to un-button it and liberate him. She did so dutifully and he later thanked her).

I immediately shook Jack's hand vigorously and asked if they were on the web to which he replied yes. "I've loved synth-pop all my life," I blurted out, confessing my addiction. "So have we," he replied, nodding his head in natural approval.

So there you have it - a love of synth-pop so strong it has motivated two talented musicians to perform their own fresh material - and do it in a very audience-friendly, charismatic way.

It doesn't end there, either. The Kolour Kult are out with a new 5-track EP available for free on their bandcamp page. Click here to get this excellent debut.

I never thought Providence would have a synth-pop act to call their own. But now they do, the act happens to be excellent, and I'm proud of them. I wholeheartedly support any enterprise that revives this wonderful genre. Thanks guys, and I look forward to more.

Friday Night Video

 

"Venice Beach" is a track by Futurecop! from their sparkling 2010 album It's Forever, Kids. Futurecop! was founded in 2006 and consists of British duo Manzur Iqbal and Peter Carrol. Though they have released only one album, they have a new EP out. Here's hoping their fantastic musicianship, knack for melody, gratuitous use of stingy synths chords and great sense of humor keep us entertained for years to come. Find them on soundcloud here.