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The song coalesces around a regimented break and burbling synths, finally ending with layers of urgent synth sounds. ‘Hands Up And Amen’ savagely documents the mugging of a woman in Queens, NY at gunpoint, only to resolve itself with a middle section that nods reverently toward gospel tradition. Originally written by Martin in Berlin in the period before moving to London and forming Electribe 101, the song was then perfected and enhanced by the band’s production nous. “I was into big ballads at the time and listening to all kinds of US and UK singers, and I was also young enough to want to prove myself as a belter of ballads,” explains Martin of the classic soul edge the album showcased.Įlectribal Soul heads into darker territory with ‘Hands Up And Amen’. To spend time with Martin’s voice on Electribal Soul is to find yourself moved deep into the ordinarily impenetrable emotional corners of your own psyche. In contrast, ‘A Sigh Won’t Do’ finds Martin in soothing vocal mode, despite its devastating message about the final ending of a strained relationship, her lyrics framed by restrained and subtle beats and sounds. Its lyrics document a sense of freedom and liberation from the darkness of a bad relationship, accompanied by jazzy piano and organ sounds over a quiet rhythm and discrete electronics. ‘Deadline For My Memories’, the song that provided the title for Martin’s first solo album, was originally intended for the second Electribe 101 album. The striking production on the version of the song presented on Electribal Soul suggests classic late sixties soul influences, such as those of legendary Motown producer Norman Whitfield, with the long shadow cast by Kraftwerk never being far away. Lyrics from ‘Moving Downtown’ had found their way into ‘Pimps, Pushers, Prostitutes’ by S’Express, and the song would appear as ‘Running Around Town’ on Martin’s 1996 solo album. Songs like the aching sensuality of opening track ‘Insatiable Love’ or the emboldened defiance of ‘Moving Downtown’ showcase Billie Ray Martin’s distinctive vocal range as it moves from haunting quiet to dramatic, euphoric rapture. “To me, the songs we put down sound like some of our finest moments.” More immediately lush and warm than the dancefloor-friendly structures of Electribal Memories, the clue to the sound of Electribal Soul lies in the second word in its title: soul. “There was a degree of confidence among us when we came to write the second album,” recalls Billie Ray Martin. Seen as the next big thing, everything pointed toward enduring critical success for Electribe 101, and the band settled into putting their second album together.
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The band took the coveted support slot for Depeche Mode on their epochal World Violation tour and supported Erasure at Milton Keynes Bowl. They were snapped up by Phonogram, managed by Tom Watkins and hailed as “the next band to meet the Queen” by i-D. Recorded in 1991 by the quintet of vocalist Billie Ray Martin and Birmingham-based electronic musicians Brian Nordhoff, Joe Stevens, Les Fleming and Roberto Cimarosti, Electribal Soul was conceived as the sequel to the band’s 1990 debut album, Electribal Memories.Įlectribal Memories had yielded the hits ‘Talking With Myself’ and ‘Tell Me When The Fever Ended’ and pushed Electribe 101 to the forefront of a crossover electronic scene that fused dance music with pop savvy.
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#Houses a quiet darkness album download#
Pre-orders will be available from 21st January 2022 through /physical-shop/ as well as all record stores, download and streaming platforms.
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The album will be released 18th February 2022 through Electribal Records. Dec 21ĮLECTRIBAL SOUL is the fabled, previously unreleased second album from UK electronic pioneers ELECTRIBE 101. 8 track 12” vinyl album / 11 track CD / 11 track digital album