EOL-Audio Review Archive – T

EOL-Audio Archive December 9th, 2011

This is Part ‘T’ of an archive of CD and digital download reviews from EOL-Audio (1998-2007) and the early versions of Terminates Here (2008-2011).

Please note that this writing is varied in quality and is not intended to be representative of the new content I’m creating for this site.  It has simply been uploaded in order to preserve the many hours of work devoted to previous websites.

Read The Rest… »

EOL-Audio Review Archive – S

EOL-Audio Archive December 9th, 2011

This is Part ‘S’ of an archive of CD and digital download reviews from EOL-Audio (1998-2007) and the early versions of Terminates Here (2008-2011).

Please note that this writing is varied in quality and is not intended to be representative of the new content I’m creating for this site.  It has simply been uploaded in order to preserve the many hours of work devoted to previous websites.

Read The Rest… »

EOL-Audio Review Archive – N

EOL-Audio Archive December 4th, 2011

This is Part ‘N’ of an archive of CD and digital download reviews from EOL-Audio (1998-2007) and the early versions of Terminates Here (2008-2011).

Please note that this writing is varied in quality and is not intended to be representative of the new content I’m creating for this site.  It has simply been uploaded in order to preserve the many hours of work devoted to previous websites.

Read The Rest… »

EOL-Audio Review Archive – M

EOL-Audio Archive November 30th, 2011

This is Part ‘M’ of an archive of CD and digital download reviews from EOL-Audio (1998-2007) and the early versions of Terminates Here (2008-2011).

Please note that this writing is varied in quality and is not intended to be representative of the new content I’m creating for this site.  It has simply been uploaded in order to preserve the many hours of work devoted to previous websites.

Read The Rest… »

EOL-Audio Review Archive – F

EOL-Audio Archive November 30th, 2011

This is Part ‘F’ of an archive of CD and digital download reviews from EOL-Audio (1998-2007) and the early versions of Terminates Here (2008-2011).

Please note that this writing is varied in quality and is not intended to be representative of the new content I’m creating for this site.  It has simply been uploaded in order to preserve the many hours of work devoted to previous websites.

Read The Rest… »

EOL-Audio Review Archive – D

EOL-Audio Archive November 27th, 2011

This is Part D’ of an archive of CD and digital download reviews from EOL-Audio (1998-2007) and the early versions of Terminates Here (2008-2011).

Please note that this writing is varied in quality and is not intended to be representative of the new content I’m creating for this site.  It has simply been uploaded in order to preserve the many hours of work devoted to previous websites.

Read The Rest… »

EOL-Audio Review Archive – A

EOL-Audio Archive November 25th, 2011

This is Part ‘A’ of an archive of CD and digital download reviews from EOL-Audio (1998-2007) and the early versions of Terminates Here (2008-2011).

Please note that this writing is varied in quality and is not intended to be representative of the new content I’m creating for this site.  It has simply been uploaded in order to preserve the many hours of work devoted to previous websites.

Read The Rest… »

Electropop

Genre Definition March 18th, 2010

Electropop is sometime used as a synonym for synthpop, but it actually refers to a very specific sub-set, namely those bands that not only adopted Kraftwerk’s instrumentation but also the cold, robotic aesthetic of their sound.  The term was knocked around to describe the likes of Soft Cell and the Human League initially, but these bands ultimately sat under the whole synthpop/new music banner.

Electropop as a specific style has seen a revival in recent years – firstly as a parallel to electroclash and the post-punk revival, before grabbing the baton from these two style midway through the decade and becoming the new darlings of the records labels and the portion of the music press that actually makes a difference.  An attempt was made to dub these rather quirky bands ‘wonky pop’, but it’s not clear if that one will catch on yet (it also includes bands that sound nothing like this, which doesn’t help!). Read The Rest… »

Electroclash

Genre Definition March 18th, 2010

I’ve always been very suspicious of self-concious musical ‘movements’, as they often prove to be record industry contrivances designed to milk revenue from those too proud to fall for the content of Top 40 singles chart, but not independently-minded enough to spot when they were simply sheep being herded into a different pen.  Not being an industry insider, I can’t tell whether that’s definitely the case here, but there’s plenty of evidence -  the creation of specialist nightclubs and compilations for style, the significant amount of attention it got from the specialist music press over a short period, and the fact that five years on hardly anyone mentions the term any more. Read The Rest… »

Synthpop

Genre Definition March 18th, 2010

One can see the origins of synthpop in several areas of 70s music.  Virtually everyone with any knowledge of music history understands the relevance of Kraftwerk in the development of the style, with their clean, robotic robotic rhythms and melodic sense laying down something of a blueprint for the style as a whole.  But they weren’t the only bands playing round with synthesisers at the time.  A number of disco producers, most notably Giorgio Moroder had also got their hands on a synth or two, and thus developed a synth-enhanced variant of a style everyone already new, as opposed to Kraftwerk’s Man-Machine concept that was still an alien concept to most.

Behind the scenes, other projects were providing their own innovations.  The New York band Suicide (traditionally associated with punk) were pioneers of what we might call ‘low budget’ synth music, a crucial step in ensuring the style was not restricted to well-funded tech-nerds.  The early acts of the industrial scene also developed a number of significant techniques that would become relevant in the development of the sound, but their non-musical, anti-commercial stance ensured they were credited as an influence without attaining the sales figures and mainstream attention that would go with it. Read The Rest… »