30 Day Song Challenge - Day 07: A Song That Reminds You Of A Certain Event

Client's "Radio", released in 2004, takes me back a few years earlier to a time when there was no music on the radio.

We begin the song with the vocalist in such a state that she “can’t be bothered to try to survive” because television news informs her of a world that is entirely a mess. There are no signs of light and she has no hope for comfort when even the solace found in workings of a great song is missing because there is no music on the radio. All this brings to mind the immediate aftermath of the September 11th terrorist attacks and emotional numbness of those, such as myself, who experienced the events of the day through a repeating media filter and directly echoes the experience of those who looked to music as source of consolation but could not find it on most US radio stations as many stopped playing music temporarily instead broadcasting news. It is remarkable, given that the lyrical content, that the song is not a dirge but the apparent contradiction between the music and the lyrics gives the song a more hopeful message that makes it even more effective emotionally.

(excerpt from an old review)

Video: Client "Can You Feel?"

There is something very familiar about the first single from Client's new album Command. At first blush Sarah Blackwood and Kate Holmes appear to be in top form on the driving "Can You Feel?" flavoring the strong vocal with a crunchy disco beat and the always welcome Peter Hook-esque melodic bass but the arrangement is keeping me from loving the song. After a month of attempting to pinpoint the problem I suspect the deal breaker is the combination of the octave bass and piano both of which have been featured many times over in the Client discography. This has created The Erasure Effect for me where it becomes difficult to differentiate between the songs that are of simply decent quality but sound similar to past favorites you have loved from the truly great new songs. If a bit ambivalent about the song I can recommend the video as one of Client's strongest visual efforts:



: Client Online is the best place to find info on the band at the moment and this interview with Sarah digs into how the duo work even if it doesn't answer what I would ask (Why did the Dubstar reunion fall through? You really believe everything on wikipedia? Really? What's up with the rotating third member of the band that never appears to write or record with band?). Command is out now. I hope to fall in love with it.

Late Review: Client Zerox Machine EP

(note: the following review was written ages ago)



Zerox Machine
Loose Talking
Zerox Machine (IDC Mix)
Zerox Machine (Jonny Slut/Atomizermix)
Zerox Machine (Robert Görl Strange Pistol Mix)
Zerox Machine (Club Mix By Covenant)

In a conspicuous break from the purely electronic pallet that colored their previous material Client have gone rock with their spunky version of Adam & The Ant's "Zerox Machine". Sarah Blackwood's vocal delivery reflects a consciousness that one does not expect to find in a run through a genre chestnut as she breaks up the phrasing of the word "copyright" so it becomes "copy, right?" turning the song into a response to the band's detractors that claim they simply imitate. The lyrics also touch upon ideas that Client have explored before such as identity, masking and control which further suggest the band's personal investment and ownership of the song. Despite the familiar lyrical touches the track's producer Youth plots a new course for the band musically as he brings a focus on "live" elements highlighting the work of Client's new bassist Emily Strange, the sharp rhythms of Blur associate Simon Tong's guitar and the machine-free drums laid down for the track. Even with the shift in style it is the theremin synth lead of Client's sonic architect Kate Holmes that brings the track to life during the chorus providing the link between old and new directions for the band.

"Loose Talking" finds the band using a lot more synths as they rework a number of familiar elements into a song that toys with sweet sadness. There are some promising bits but the song fails to follow through making for an unsatisfying listen.

Remixes of covers are always a dicey proposition because the distance from the original source material makes it difficult to find an unique angle but that problem is danced around here as parties from different scenes are given mixing duties. IDC play things straight incorporating much of the original while the confusingly named Jonny Slut/Atomizermix (thus named because they couldn't settle for just listing one alias that he records under) brings stutter edits and an electro flavor to the table. Recruiting D.A.F. member Robert Görl for a mix must have been quite a moment for Client as they list them as a major influence but Görl turns in an oddly unmusical mix that adds a bit of occasional 16th note trance synths to an uninspired beat leaving the affair a lost opportunity. Ultimately it is Covenant that bring the goods with their EBM flavored mix that takes the liberty to ignore much of the original as they form an effective dark dance track.

Late Review: Client Lights Go Out EP

(note: the following review was written some time ago)



Lights Go Out (Single Edit)
Northern Soul
Lights Go Out (Oliver Koletzki & Sebastian Meindl Mix)
Lights Go Out (Basteroid Mix)
Lights Go Out (Spetsnaz Mix)
Lights Go Out (Boosta Mix)

Client use "Lights Go Out" to tell the story of a woman who goes to extreme lengths to win the affection of an undeserving partner she finds herself "guilty of loving". Over the course of the song the narrator offers, in a pop friendly turn, to be the "guilty pleasure" of what we learn in the final verse is a promise breaking lover that forced her to "learn the hard way" that there are "no guarantees". Given the band's recent split with Toast Hawaii/Mute this redefinition of the band's mission statement, first laid out in Client's self-titled song that was their public debut, of "satisfaction guaranteed" suggests meaning for the band outside the song's narration. However as interesting as it is lyrically the song is musically a mishmash of ideas they have explored before. The swinging beat of "Pornography" and the ominous string sound of "Radio" are clearly echoed here but "Lights Go Out" lacks the clarity and melodic vision that was so vivid in Client's earlier material.

"Northern Soul" is better than average b-side fair flair despite noticeably recycling the riff from "Rock And Roll Machine". Really any song that had the audacity to declare "you need a bit of Northern soul" and that they "know the girls to give it" would be worth a listen and fortunately this tune has even more than that to offer.

If the original "Lights Go Out" lacks greatness then the single goes on to prove that a song cannot be saved with a little magic remix dust. Oliver Koletzki & Sebastian Meindl's deconstruction is full of stutter edits and vocals cut from the single version of the song which makes for some interesting moments but it is ultimately less than satisfying. Basteroid and Boosta flavor the song with their own respected arty electro seasonings but achieve uninspired filler at best. Spetsnaz begins his mix with enough promise that there is hope that a François Kevorkian-inspired spin on the song could develop but unfortunately the mix crashes and burns about a minute in quickly devolving into an amateurish mess. All in all it's the least appealing package that Client has assembled to date.

Mini Reviews

Some blogs have frequent updates and proper reviews. That couldn't happen here...


Miss Kittin BatBox

Is disappointment of the year too big of a statement? Miss Kittin is one of those artists who could clearly make brilliant pop music anytime she wants but chooses not to out some need for underground integrity. Depending on your perspective this makes her a saint for not selling out or a fool for hiding her talent. The overall sound recalls her First Album with The Hacker but unlike that genre staple there is almost nothing here that draws you in as even promising tracks like "Sunset Strip" never truly develop. In political terms she is simply playing to her base and doing very little to interest anyone else. Even those who gave the album a couple of months to sink in.
Best Bets: "Kittin Is High", "BatBox"


Client Untitled Remix


While remixes from the four singles taken from last year's lacking Heartland are found here the real selling point of Client's Untitled Remix album are the band's collaborations with other artists. Both "Suicide Sister", their cheery duet with Douglas McCarthy, and their venture into house-gone-electropop "Sorry" with Mexican band Réplica are miles better than 95% of Heartland which suggests to me that Client need to rethink their track selection process when releasing proper albums. The remixes are mostly from parties with less than four discogs credits to their names and unfortunately it shows with only three or so interesting remixes in the set.
Best Bets: "Suicide Sister", "Sorry", "Zerox (N Joi Radio Edit)"

Chemical Brothers B-Sides Volume 1


When this turned up on itunes I knew that Astralwerks had given up on We Are The Night which is shame because it is much better than it has generally been written off to be. While a b-side collection is not entirely unwelcome the Chemicals can be a bit hit and miss as they often use alternate versions of album tracks to pad out singles. If you've been missing the straight dance tracks from the recent albums there is plenty to keep your interest with the subtle acid of "Nude Night", the rumble of "Base 6" and the thundering hip hop jam "Prescription Beats" almost making up for unlistenable experiments like "Scale". Even some of the alternate takes fascinate as we learn "Snooprah", which appears as the brief ambient interlude "Harpoons" on We Are..., also has a secret life as a seven minute dance track complete with disco sirens. The biggest problem here is the Volume 1 thing which keeps the Brothers best b-side, the amazing "Hot Acid Rhythm 1", off the compilation. Check that one out: found on the "It Began In Afrika" single it's well worth the 99 cents.
Best Bets: "Hot Acid Rhythm 1"(well obviously not on the album but if you're only getting one get this track), "Prescription Beats", "Base 6"

Video: Client "Drive"

Client’s Heartland is still a week away from it’s release and the album’s third single “Drive” is here hitting the retro-new wave electro mark squarely. Using night driving as self medication to “feel alive” the song suggests the band may have been spending some time with former collaborator Pete Doherty as the lyrics go from “I can’t resist you “ to “white lines on a motorway” within seconds. Fortunately the band has found the right mix of synths, live drums and bass to propel one of their most strongly written songs while setting a mood that is just right.
Performing in front a massive video screen projecting somewhat abstract white on black driving visuals the video fits the band‘s style and adds a bit of Kraftwerk-ian flair. This is a huge improvement over their last video, and it’s great to see the band back on track:



: Client are touring Europe and North America shortly so click through to one of their two myspaces for more info and preview tracks from Heartland while you are there.

Video: Client "Lights Go Out"

Client made an unexpected return in the US this week with the digital "Lights Go Out" single. Taken from their forthcoming 2007 album Heartland the track first appeared on the PopJustice CD to generally favorable reviews that often employ PopJustice-ish buzz words like "pop" and "amazing".

"Lights Go Out" is one of those woman-returning-to-a-former-lover-despite-knowing-she-will-end-up-hurt songs and has a great pop line offering to be "your guilty pleasure". Musically the song is sort of a mishmash of ideas that they have explored before borrowing the swinging beat of "Pornography" and the ominous string sound of "Radio" but without the clarity that defines that stronger material. Client have been working with Youth and Stephen Hague on the new album, but having bought the single from itunes there is no info attached to the music (note to itunes: if you're selling music downloads then have someone copy the liner notes because it's the right thing to do) but the song doesn't really have anything resembling the sonic signature of either producer.

The video captures the trio performing individually on rotating platforms with the added enhancement of some very cheap special effects that might have looked cool in a 60s tv show but are now standard issue extras in digital video editing programs. It's a no frills production that reflects the band's new diy status (more on that in a moment) that makes the cheap videos they made for mute look like epics. Sadly even no budget efforts from band's like Freezepop show more imagination while using the same effects.



: Client broke off their relationship with Toast Hawaii/Mute earlier this year citing a disinterest in the corporate nature of Mute as an arm of EMI and they are now planning to go it alone in their native UK and are working with various interested labels to spread their muisic across the world. Finding the single online was something of a shock because Client have been promoting their cover of Adam Ant's "Xerox Machine" (hear Ant's original here) as the album's first single and that has a February release scheduled on Metropolis Records in the US. Itunes lists this single being from the band's German distributor Out Of Line and Client's myspace and official news page has no information about "Lights Go Out". It's only a message buried on Client's forum that explains that the band aren't promoting the single because it's a Germany-exclusive release and that it is intended as Heartland's third single elsewhere. One almost gets the impression that Out Of Line overstepped their rights and that this single might be pulled from itunes rather quickly. This might be the stumbling baby steps of a self release strategy but someone got a Client single online and available as a download in the US. That's more than Mute pulled off in their two album's worth of releases with the band.