Catching up with A-ha and V.V. Brown

Been traveling around a bit lately, but finally had the time to sit down and write a bit (hopefully the next few days will allow me some time to write before taking off again). But I have kept my iPod stacked with great new music. So here are two albums, one by veterans and the other by a “newcomer,” that you should really give a listen to. Yeah, they are both pop albums and some of my friends have even joked about me loving these two albums. But this is not your throwaway pop music; this is craftsmanship that should be respected and emulated. In the near vacuum of good pop music of the past decade, pop acts are emerging and veterans are returning with strong efforts. Though I do not think that we will ever return to the mid-80’s new wave hit machine of mindless pop (which is a good thing), it is great to see intelligent pop being produced and giving a real alternative to corporate music, indie/festival circuit bands, hip-hop, and the dominance of rock (in all of its forms) over the past few years.

A-ha: “Foot of the Mountain”

A-ha released their first album in four years; “Foot of the Mountain” (19 June 2009 in the European Union, available as an import in the USA) truly highlights what A-ha does better than any synthpop band out there: combining luscious vocal arrangements with subtle synth hooks. There is not doubt that they have already left their mark on music with early hits like “Take on Me” and “The Sun Always Shines on TV,” where you hear their fingerprint in the likes of Beck, Coldplay, Keane, Radiohead, and Travis. Unfortunately, especially on the States side of the Atlantic, when bands have major hits early in their career, what follows if often ignored by the mainstream. But in this nu-new wave world, were new bands are emulating and celebrating the monuments of the past, it may be wise to take a look at one of those bands that not only help to define new wave, electropop, and synthpop, but continue to define, push the envelope, and compose some of the highest quality music out there.

Out of Norway, this band is not creatively bankrupt; well with being associated with a musical scene in Scandinavia that is producing some of the most interesting bands at the moment (the Legends, Royksopp, Moonbabies), A-ha proves that they can step into a new era of music with relative easy and comfort. Unlike other veterans of electro/synthpop recording these days, the quality of sound is incredible. The album is crisp and flutters easily like sunlight through a window early in the morning. What is different about this album is that it is more empathic, a feeling of being more personal than any of their previous material. For instance, in the song “Nothing Is Keeping You,” the entire music works towards the singular goal of making you feel pensive. Other tracks that I would pay close attention to is the opening track, “The Bandstand” (incredibly arranged and layered), “Riding the Crest” (a throwback to 80s new wave), and “Sunny Mystery” (a beautiful interplay in the vocal arrangements, a beautiful interplay of different sounds).

What is a real standout about the album is that it does not sound dated. If you are one of those people who are harkening for an old style, synthpop album, this is not it. A-ha has learned through the years, and even influenced, by everything from pop to dream pop. They do not jump any bandwagons, but they certainly allow themselves to be influenced, continue to experiment with new synth sounds, while composing music in the same classic standards style. Furthermore, the years have strengthened their English language skills. Just like Bjork and Robyn, it is wise to remember that these boys are not native English language speakers, but recognize the fact that to obtain international, global status, they must sing in English: “Life is the dream that you wake up to, these things you’ll never find; dreams are the life from which you wake, out of sight and out of mind; everybody makes the extra effort, these things you’ll never find; never know what to do, out of sight and out of mind but you know the answer, yeah you know the score, it feels just like before…” (“Sunny Mystery”) And moreover, this is an album by veterans who are living up to what they are capable of. It is obvious that they are not attempting to ride the coattails of their moniker, reconstruct old hits for a new generation, or living with a foot in the past with their sound or attitude. Instead, what you have here is an amazing album by a band that can produce. I am often critical of veterans, but there is nothing here to criticize (…well I would have liked a few more songs, but that is splitting hairs).

Keep up with A-ha at their homepage and MySpace.

Here is the link for A-ha’s video for “Foot of the Mountain” from the universalmusicgroup YouTube Channel.



Track Listing:
1. The Bandstand
2. Riding the Crest
3. What There Is
4. Foot of the Mountain
5. Real Meaning
6. Shadowside
7. Nothing Is Keeping You Here
8. Mother Nature Goes to Heaven
9. Sunny Mystery
10. Start the Simulator

V. V. Brown: “Travelling Like the Light”

She is a genius; combining the best of sixties sensibility, rockabilly, and neo-soul, V.V. Brown (born Vanessa Brown) hit the music scene this year with her incredible debut, “Travelling Like the Light” (13 July 2009 in the UK). This is current pop at its best: fun, intelligent not heady, danceable, infectious, and “genre free.” This is the main appeal. Brown is not trying to appeal to a specific scene or sensibility; rather she has produced an album that has appeal across a large spectrum of listeners – something that is becoming increasingly rare in music today.

“Shark in the Water” (which I posted the video for here) is on the album. Nowhere on the album is the fact that she is of Jamaican and Puerto Rican descent more obvious, but more to my point I am always weary of singles by “pop acts,” because they usually represent the best of what is on the album. This is not the case of “Travelling Like the Light.” The single is amazing, but the other songs on the album are as amazing and captivating. The album opens with “Quick Fix” (not so ironically the shortest song on the album), which will bring to mind more of an American sound than a London cliché. It is this kind of song that sets her apart from other neo-soul singers like Amy Winehouse or Alice Smith. The vocals are raw, passionate, and even screechy at times, not to mention it may inspire you want to surf.

Another track worth taking a look at is “Crying Blood.” It has that infectious beat and familiarity of rockabilly (think “Monster Mash”). But she does to pop and soul vocals what Annie Lennox did twenty-somewhat-years ago with the Eurythmics: she infuses a passion and candidness that is unexpected from a voice that is so distinctive. “Can’t believe what you’ve done to me,” ingeniously Brown sings, “you got me feeling like a cloud in stormy weather.” Of course that album includes the mandatory ballet (aptly called “I Love You”), but it is the slow-paced, almost experimental, titular track “Travelling Like the Light” that will get your emotions stirring: “I try to deny when my surface butterflies, and I try to resist when you say that it’s alright, and I try to believe that it’s nothing but a crush, but it’s incredible… so incredible… I’m travelling like the light.” The last track I would like to mention my favorite song on the album: “Everybody.” Busting in a bit of disco elements and a steady beat, this song is all about dancing, but not frivolity.

V.V. Brown may be a new name to the scene, but she is anything but an amateur. Under her pseudonym, “Geeki,” she has penned music for pop acts such as the Sugarbabes and Pussycat Dolls, and has the goal of one day scoring films. Most impressive, she turned down opportunities for recording, turning down P. Diddy at one point. She stuck to her guns and eventually had the opportunity of releasing her own album, on her own terms. Along side such artists like Little Boots and La Roux, pop is coming back with a vengeance. But what is great about this album, as I said before, is how its appeal crosses genres, but I would also like to add that unlike so many artists out there, the appeal crosses generations. (My mom loves this album.) There are rumors of a fall States-side release of the album, but do not hold your breath and just import it!

Keep up with V.V. Brown at her homepage, MySpace, Facebook, and Twitter.



Track Listing:
1. Quick Fix
2. Game Over
3. Shark in the Water
4. Leave
5. Bottles
6. Crying Blood
7. Back in Time
8. I Love You
9. L.O.V.E.
10. Everybody
11. Crazy Amazing
12. Travelling Like the Light

Here is V.V. Brown live performing “Crying Blood” on the John Peel Stage at this years Glastonbury Festival from her YouTube Channel VVBrownTV.

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Five Synthpop Albums

New wave was more than just an extension or development from punk rock; it was also a reaction against both mainstream and underground/punk. Where as punk rock may have condemned the frivolities of pop music, it still composed and thought of music in much the same way and on the same terms as standard rock – just stripped down and more screaming. New wave artists, on the hands, were more experimental, allowing for more integration of funk, disco, and electronic influences. Instead of denouncing what was out there, they were willing to embrace it with a twist. Instead of arguing that pop music was “lame” or “hackneyed,” they demonstrated with careful craftsmanship that mainstream pop arrangements could be utilized for experimental music. And among these new wave artists were the bands aptly called synthpop.

Though its genesis was in the middle of the new wave movement, synthpop would continue to exist beyond the 80s with a new resurgence in recent years. The most common definition of synthpop would be that these bands in the subgenre prioritized the use of synthesizers and sequencers to generate music. But there is more to it than just that. There is a conscious element of creating music that is obviously mechanical, while injecting vocal arrangements that are warm and empathic. Present is ostinato – a constant, repetitive sound from beginning to end, like the background of “Save a Prayer” by Duran Duran or a never changing drum pattern. Even with today’s technology available, synthpop continue to incorporate ostianto though they have the means to create more luscious arrangements and soundscapes.

As a matter of image, these bands, like the rest of new wave, experimented with their looks. There was a conscious blurring of gender and/or sexuality; there was no rejection of queerity – in fact, two synthpop greats, Bronski Beat (“Small Town Boy”) and Erasure (“A Little Respect”), were more than willing to bring the gay cause to the forefront of their music. What new wave and synthpop allowed was not just a new way of thinking about music, but also a new way of thinking about what was acceptable to write about in music. And though new wave would die out with the hairbands of the 80s, synthpop would outlive the 90s, and continue to challenge the notion that music had to be guitar based and/or realistic sounding till present day.

A-ha: “Hunting High and Low” (1985)

The debut album by a Norwegian band that still retains its popularity on the Continent, A-ha (homepage) hit the American radio and video play in an impressive way with “Take on Me” (top 5 single in Norway, UK, USA, France, and Germany to name a few countries). A-ha in the United States will always be known as the band that had that catchy video with the girl who falls into the pencil drawn comic book. They were ahead of their time; creating a video that set the standard for 1985. And 2009 will see A-ha releasing their ninth studio album.

Why is it a must? Though we all know the single “Take on Me,” included on this album is also “The Sun Always Shines on TV.” This is an incredible song and demonstration of craftsmanship. (The video references at the beginning the video for “Take on Me.”) The song is more sophisticated in sound and arrangements than the first wave of synthpop – technology had greatly improved. But like many other Scandinavians (Abba, Moonbabies, Lars Ulrich of Metallica, Savoy, etc…), these boys have an ear for writing music that is unpredictable, catchy, and infectious. This album is no different.



Track Listing:
1. Take on Me
2. Train of Thought
3. Hunting High and Low
4. The Blue Sky
5. Living a Boy’s Adventure Tale
6. The Sun Always Shines on TV
7. And You Tell Me
8. Love Is Reason
9. I Dream Myself Alive
10. Here I Stand and Face the Rain

Depeche Mode: “Speak & Spell” (1981)

Formed in 1980, Depeche Mode (homepage) originally included David Gahan, Martin Gore, Andy Fletcher, and Vince Clarke, who was originally the primary song writer and would go on to form both Yazzo and Erasure. After playing in other “standard” bands, Depeche Mode would emerge at the forefront of the synthpop movement. Arguably, they are the most successful synthpop band of all time in terms of longevity, album sales, and influence. With well-crafted songs based on the standards of old, the use of electronic equipment allowed them to inject urgency and vitality to their music, something that was not done to this degree by synthpop bands before hand. Critics did anything but praise Depeche Mode, yet they have survived the test of time, as they prepare to release a new album (“Sounds of the Universe”) in 2009. And, it is not just a new album, DM continues to be fresh and relevant to music.

Why is it a must?

Even though Martin Gore would become the main songwriter after this album, what all of the DM albums have in common is a meticulous eye for detail. There is always a sense of “this is perfect” when listening to a DM album. “Speak & Spell” includes their first song, “Photographic,” and that alone is reason to buy this album. This song is perhaps the most urgent song of all early synthpop. Also, with songs like “Tora! Tora! Tora! (written by Gore) and the Schizo Mix of “Just Can’t Get Enough,” there are hints present that DM was going to start a journey towards darker music.



Track Listing UK:
1. New Life
2. I Sometimes Wish I Was Dead
3. Puppets
4. Boys Say Go!
5. Nodisco
6. What’s Your Name?
7. Photographic
8. Tora! Tora! Tora!
9. Big Muff
10. Any Second Now (Voices)
11. Just Can’t Get Enough
12. Dreaming of Me – 1988 CD Re-release
13. Ice Machine – 1988 CD Re-Release
14. Shout! – 1988 CD Re-Release
15. Any Second Now – 1988 CD Re-Release
16. Just Can’t Get Enough (Schizo Mix) – 1988 CD Re-Release

Track Listing USA:
1. New Life (Remix)
2. Puppets
3. Dreaming of Me
4. Boys Say Go!
5. Nodisco
6. What’s Your Name?
7. Photographic
8. Tora! Tora! Tora!
9. Big Muff
10. Any Second Now (Voices)
11. Just Can’t Get Enough (Schizo Mix)

The Human League: “Dare!” (1981)

One of the few major bands that do not have a website (as they believe they do not merit one), the Human League dominated radio play with their hit “Don’t You Want Me” – the number of high school talent shows of couples singing this song are infinite! They considered themselves a song-based band and have definitely left a definite mark on mainstream music. Concentrating on carefully crafted songs, with little hooks unique to synthpop, it is arguable that the Human League set the standards for all synthpop bands to reach – they did reach the number one position in the UK and USA twice, a feat not accomplished by any other synthpop band.

Why is it a must? We can be cliché and say that everyone must own a copy of “Don’t You Want Me,” but there are other great tracks on this album. The opening track, “The Things Dreams Are Made Of,” is an excellent song and a precursor to sounds that would be included in techno later. “Do or Die” has arrangements in it that you can see where some 80s pop artists (like Madonna) got ideas from. Then there is that enigmatic electronic piece, “Get Carter,” that comes in softly and disappears quickly – I wonder what they were alluding to there?



Track Listing:
1. The Things That Derams Are Made Of
2. Open Your Heart
3. The Sound of the Crowd
4. Darkness
5. Do or Die
6. Get Carter
7. I Am the Law
8. Seconds
9. Love Action (I Believe in Love)
10. Don’t You Want Me

Catch the Human League at Astralwerks YouTube Channel.

Here is the link for their video for “Don’t You Want Me Baby.”

Ultravox: “Vienna” (1980)

This band has a revolving door around membership sort of like the Cure – thirteen members have graced this four-man line-up. In February 2009, Midge Ure (frontman) confirmed that Ultravox (homepage) would be reuniting to record new material. (Not a nostalgia tour, as many other artists have done, but rather give fans a new chapter in their career to enjoy.) Not always radio friendly, Ultravox built a career on experimental pop, intricate, interwoven arrangements, and avoiding the clichés that many synthpop bands fell into. With an ability to shift styles (perhaps, like other bands with revolving line-ups, because different members brought a different style with them to the fold), Ultravox never recorded the same album twice. Throughout their career, they were always able to remain fresh and relevant.

Why is it a must? Midge Ure became the frontman of the band in 1979, releasing “Vienna” as his first album with Ultravox. This is the bands most successful album to date. Combining different styles and genres, from sheer electronic, synth oriented music (”Astradyne”) to more guitar-oriented arrangements (“New Europeans’), something DM would do later in their career, the album showcases all of the extremes of synthpop. The single, “Vienna,” an amazing experiment in pop, combines elements of acoustic sounds (piano) and synthpop ostianto and cold, mechanical sounds. This is an amazing ballad that should not be written out of the annals of musical history.



Track Listing:
1. Astradyne
2. New Europeans
3. Private Lives
4. Passing Strangers
5. Sleepwalking
6. Mr. X
7. Western Promise
8. Vienna
9. All Stood Still
(Note, the US edition re-ordered the songs on the A-Side of the vinyl: 5, 4, 2, 3, 1.)

Yazoo: “Upstairs at Eric” (1982)

After leaving Depeche Mode and before forming Erasure, Vince Clarke would team up with Alison Moyet to form Yazoo (homepage), in the US known simply as Yaz. I got to see the band perform on their Reconnected Tour last year at the Beacon Theater in New York City and was wowed by them. Yazoo is pure energy! Even the slowest paste songs will smack you in the face with emotional rawness, while the faster tempo songs will make you want to dance. Even while singing about dancing (“Don’t Go”) there is a conviction and seriousness in Moyet’s voice; even when being experimental, Clarke is able to generate a soundscape (even using real voices in “I before E Except after C”) that is impressive. Honestly, there is a part of me hoping for a third Yazoo album.

Why is it a must? “Don’t Go” and “Situations” are on this album – you may not know these songs by title, but when you hear them, you will start dancing. Synthpop, in fact most of electronic music, is never thought of as soulful, but “Midnight” is one of the most soulful songs ever recorded. Alison Moyet’s voice has been one of the most under-appreciated voices in modern music, and the genius of Vince Clarke’s simplicity and craftsmanship has never been given the credit it deserves. “Upstairs at Eric’s” demonstrates the vitality and timelessness that synthpop music brought to the mainstream and underground, and why as a genre it has been influential.



Track Listing UK:
1. Don’t Go
2. Too Pieces
3. Bad Connection
4. I before E Except after C
5. Midnight
6. In My Room
7. Only You
8. Goodbye 70’s
9. Tuesday
10. Winter Kills
11. Bring Your Love Down (Didn’t I)

Track Listing USA:
1. Don’t Go
2. Too Pieces
3. Bad Connection
4. I before E Except after C
5. Midnight
6. In My Room
7. Only You
8. Situations (US Remix)
9. Goodbye 70’s
10. Winter Kills
11. Bring Your Love Down (Didn’t I)

You can find Yazzo on the Mute YouTube Channel.

Here is their video for "Don’t Go."


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