THOMAS PODVIN’S FREELANCE WORK
Freelance writer - translator - Editor

If you’re over 30, you’ve probably hummed along to one of Duran Duran’s undeniably catchy hits. Back in 1978, Brits John Taylor and Nick Rhodes founded a band blending vibes from the Sex Pistols, David Bowie and Blondie into a kind of groovy/New Romantic/New Wave/dance music.
With three main strengths – great synthesizer hooks, unforgettable live performances and spellbinding music videos – the boys have been topping the charts for nearly three decades. By 2000, this band had sold 60 million records and had a long, long list of number one hits. However, the numbers don’t do justice to their affect on the global (read US) conscious.
In the late 1980s, for instance, during the Panama conflict, the US Army employed the band’s “Hungry like the Wolf” in its arsenal of psychological weaponry. In 2004, on NASA’s second mission to Mars in search of life, the space agency woke the crew each spacey morning with “Is There Something I Should Know.”
Sadly, Greatest samples just 18 of the ‘The Fab Fives’ outstanding opus, though god be thanked, it includes, three massive classics. “Wild Boys” (1984), written especially for video, “A View to a Kill” (1985), the theme song for the eponymous James-Bond movie (and the only 007 theme song to hit number one in the US charts) and “Rio”, an ultra-catchy tune from the eponymous album (1982). You can’t forget the addictive intro – mesmerizing repetitive synth and cutting guitar riffs. By the way, in 2003, “Rio” was listed by UK magazine NME as one of the Top 100 “Greatest Albums of All Time.”
You may start humming now.
EMI

(c) that's Shanghai Magazine
Chief editor: Steven Crane
September 2005 issue

Is the down under TV soap Neighbours simply a platform to launch Aussie pop singers? Consider this: the career of international singing sensation Kylie Minogue was birthed from the cheesy womb of the TV show and pop-singer Detta Goodrem is about to duplicate that dubious feat. Following on the success of her celebrated debut, Innocent Eyes, Goodrem’s Mistaken Identity shifts gears for the international market, though not at the expense of Ozzie fans – the new release has gone five times platinum in Kangaroo country.
The new Goodrem sound owes not a little to Celine Dion, albeit with a bit more spice and delivered in a more attractive package. And the world seems to like it; the singer/songwriter has already enchanted millions of British and Australian listeners. She’s also making headway in the difficult to crack US market -- Billboard declared Goodrem 2005’s Best New Artist and hails her as a “tigress of talent.”True, talent flows from the 14 commercial-pop tracks.
Mistaken Identity rests nicely on melodic hooks, Goodrem’s radiant vocals and thoughtful lyrics. Indeed, some of the songs are based on Goodrem’s recent, successful struggle against lymphatic cancer. If more proof of quality is needed, her collaborator on this CD is Guy Chambers, the British songwriter/producer behind most of Robbie Williams’ best tunes. Chambers has a knack for writing instant hits, check out: “Out of The Blue,” “The Analyst,” “Miscommunication,” or “You Are My Rock,” all of which are stand-out best tracks.
Sony Music

(c) that's Shanghai Magazine
Chief editor: Steven Crane
September 2005 issue

In the last 15 years, one-man band Moby, the stage name of 40-year-old New Yorker Richard Melville Hall, has done it all. He’s gone from punk (with the Vatican Commandos) to electronic music (in the widest possible sense) and onto hard rock; he’s covered his favorite film scores in the release I Like To Score; he’s played keyboards, guitars, bass and drums; he’s sampled, remixed and produced; he’s gone on a strict vegan diet; he saw the Twin Towers collapse on his birthday. And last but not least he’s fustigated the Bush administration and criticized Eminem!
After six albums, including two huge international sellers, 18 and Play, the man has a new CD, Hotel, that collects all these experiences. And more.
Well, not really. Carefully crafted, this highly anticipated release does deliver all the ingredients that brought him to fame; electronic compositions, synthesizer wonders, attractive female backup vocals, hypnotic samples and more catchy tunes than you can shake a bottom at. “Lift Me Up”, for example, is prime stuff. But something rankles. An obviously skilled and creative musical artist, Moby breaks no new ground. Perhaps the result of having already done it all.
EMI

(c) that's Shanghai Magazine
Chief editor: Steven Crane
September 2005 issue

Once upon a time five Dubliners dreamt of California (or rather the California sound, mid-60s to mid-70s). They practiced for two years, called themselves The Thrills and then their dream came true in the form of a four-month holiday in a San Diego-beach hut.
Back in Ireland, they turned West-Coast vibes into their debut album So Much for the City, part California sunshine, part country rock and part Beach Boys. Also part Phil Spector, Morrissey and The Smiths. The whole result is almost greater than the parts. These guys are good, so good that Moz asked The Thrills open his gig at the Royal Albert Hall in London in September 2002.
More than a year later, the band followed up with Let’s Bottle Bohemia, filled with shiny, catchy pop tracks, and plenty of that Californian feelin’ in the beat of each of the ten songs.
Whether this particular sound thrills you or not, is beside the point. Let’s Bottle Bohemia is a fun 35-minute trip to the sunny West-Coast beaches. Enjoy the ride!
EMI

(c) that's Shanghai Magazine
Chief editor: Steven Crane
September 2005 issue

Belgium may be a small country, but it's big on talent. Like Benoit Franquet, a master of musical composition, who's delivered a 24-carat debut with "Zero Gold".
Immersed in classical music from an early age, Franquet has become one of the leader's of house and techno music. He's wrote a number of early club anthems at his own studio, including 'I'll Be Right Here" and "Angel". Later, he signed with the respected UK label Bedrock Music and released another hit single "Apollo Vibes" under the pseudonym Pole Folder. After 18 months in production, Franquet released his first full album of material, Zero Gold in May 2005 which was immediately boosted by DJs round the globe.
Distributed in China by Hinote Records, this release is far more that the usual sequencer sounds and beats. "Zero and Gold represent two human fears," says Franquet, "which characterize the main theme of the album. Human fears govern our acts more than our own desires."
Zero Gold is a mix of electronic music, pop, atmospheric melodies and the human voice. Several tracks ("Before It All Changes" and "Fall In Violet") are clearly influenced by film. "When I was younger," Franquet says, "I was composing for imaginary movies. This vision of the music is strong in me and this feeling came naturally during the creative process."
In the studio, Franquet starts with the drum track, later adding melody with a bass line and pads. Then he wraps the music with mental elements, "the mainstream melodic atmosphere is present but the psychedelic side makes it special, and allows listeners to feel the music on different levels."
And feel it you will. This CD is richly rewarding, whatever camp you're in.
Asks Franquet: "Is this a psychedelic pop album or a progressive electronic album. I let you choose."

(c) that's Shanghai Magazine
Shanghai Chief editor: Steven Crane
August 2005 issue

Guanzhou Chief editor: Christopher Cottrell
August 2005 issue

For a decade now, British clubbers have been dancing to the punkoid soul of duo Basement Jaxx. Make no mistake, when Brixton natives Felix Buxton and Simon Ratcliff gig, they're hands on: hands on funky guitars, keyboards, drums, computer and decks. The wonder is that they could fit this explosion of good vibes and exhilarating energy, the essence of the Jaxx live experience, on one compilation.
the singles features 15 studio tracks culled from their three UK Top 5 albums: Remedy, Rooty and Kish Kash with all the big hit: "Romeo," "Red Alert," "Oh My Gosh," "Bingo Bango" plus their new single, "U Don't Know Me."
If we had to come up with one word to describe the Jaxx style, it would have to be "collage". The band's brand of audio-visual art, from CD covers to poster designs to website (check out basementjaxx.co.uk) combines, well, you name it. So does their music, a patchwork of soul, punk, Motown, electro, Latin funk, samba and house, not necessarily in that order. Adding to the monstrous assortment of beats are guest vocals by KeLe Le Roc, Lisa Kekaula and Glamma Kid among others.
2005 Grammy Award winners for Best Electronic/Dance Album Kish Kash, Basement Jaxx are currently touring the UK. Book your flight now!

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Guanzhou Chief editor: Christopher Cottrell
August 2005 issue

This is not a Beatles tribute. But there's no denying that this Shanghai band of four is greatly influenced by Brit-pop.
Without trying to pigeonhole Crystal Butterfly (Shui Jin Die), pop is actually the best definition of their sensual brand of music. But pop with some range, from uplifting ballads ("Your Sky No Rain", "Float Down" in English), to light rock ("Judy's Too") and more sonic-laden tracks (hidden track "Fuzzy"). You'll find it all on this debut album.
So what makes this release especially Shanghaiese? Talent. A lot of bands in the city have similar influences and play in similar styles. What makes the Butterflies stand out is the ability to write catchy melodies that capture the listener on first hearing. There's nothing dark about Magical Mystery Tour. It is a feel-good record especially enjoyable in summer. The band's promised to release a second record called Fantasy Forest soon. Can't wait!

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Guanzhou Chief editor: Christopher Cottrell
August 2005 issue

Grammy Award nominees The Crystal Method toured China last month and stopped in Shanghai for an impressive gig at La Fabrique.
The Las Vegas-based band has been mixing and sampling on the international electronic scene for a decade now. Community Service Volume 2 gathers a selection of break-beat tracks, along with new remixes of songs by The Doors, the Smashing Pumpkins and New Order. Experimental they are, and though less accessible than the Prodigy, the duo, Jordan and Kirkland, are certainly skilled with sequencers and beat boxes.
You probably won't play this American answer to the Chemical Brothers and Aphex Twin at home in your living room, but you'll be requesting them on the club floors.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Guanzhou Chief editor: Christopher Cottrell
August 2005 issue

Some time in the late 90's, Aussie Kylie Minogue discovered that success rhymes with sex. And she's been flashing her pants ever since the release of the single "Spinning Around" in 2000 in the hope that her body will continue to sell music. It seems to work; tunes like "Can't get You Out Of My Head" and "In Your Eyes" received a lot of play in UK and in Australia. A lot of play. Her fit, sensual body appears to be a big marketing asset for admittedly catchy dance-pop melodies ("Slow").
Prior to 2000, in the mid-nineties, she was in her girl-next-door period (on the soap Neighbours) followed by a long dry spell. Indeed, at this time, who would have guessed that a girl dressed in casual attire singing boring dated tunes would ever get this big?
Those who value nostalgia will eke some pleasure from Ultimate Kylie, a two-CD release compiling her best, from "The Locomotion" to "Please Stay". One wonders what she will reveal next to keep the public satisfied.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Guanzhou Chief editor: Christopher Cottrell
August 2005 issue

Think of J-pop and artists like Utada, Amuro or Hamasaki immediately come to mind. This is unfair. God's gift to Japanese pop is Hitomi Yaida. The voice of the 27-years old female singer (and composer, lyric writer, producer and mixer!) is heavenly, far from the high-pitched wobbles of the teen idols who overpopulate the archipelago.
More rock than pop (comparable to Nippon rock singer Shiina Ringo), Yaida (aka Yaiko in the UK) vibrato vocaling is wonderfully accompanied by distorted guitars and a solid base line on "My Sweet Darlin" and "I Am Here Saying Nothing." The musical chemistry is, in a word, perfect.
Singles Collection, released in China by EMI, is a good start to discover what Yaida calls "heart rock" or music that comes with a lot of soul. This is one of the best J-pop records released this year.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Guanzhou Chief editor: Christopher Cottrell
August 2005 issue

Arguably, Germany gave birth to electronic music. As anyone who’s ever partied there can attest. Of course, electronic music has branched out considerably since its early days, from pounding house, to, well, Naomi’s unique brand of chill-out electronic pop. "Pappelallee is a slow and relaxed album," Nico Tobias, one-half of the Berlin-based band told that’s.
Before forming Naomi, Tobias and friend Bernd Lechler, gigged in separate bands, with little or no success. Fed up with straightforward songwriting (and no money), the pair decided to try their luck with electronic music.
"We started to play around with samples and drumloops and that's how Naomi started," says Lechler. Several tracks and remixes later, they perfected their now trademark sound with the release of their debut album Everyone Loves You in 2002. The single "Go", chosen for an Amnesty International TV spot and broadcast all over Germany, won instant success.
This second album, released in Shanghai by Hinote Records, is more personal and named after the street, "Pappelallee" or Poplar Alley" in Germany, where the band lives. The CD cover features a blue monkey face. Says Lechler, "There’s one song on the album called "King Kong Is Not Dead", and that title inspired our art designer to try out the monkey cover. Once you've seen it, you won't forget it."
"King Kong", along with "Fade Out" and "October", are as warm and consoling as a cup of coffee sipped in a comfortable armchair on a rainy day. Pop elements with acoustic guitars, melodeon, jazz ballads and a hint of reggae are thrown into an electronic universe. Vocals add another distinctive ingredient, and play an important part in the catchiness and accessibility of Naomi’s music. "Including vocals is natural for us," says Lechler. "We like to build instrumental tracks, but at the same time we are songwriters in our hearts, and that will always come through. Call us electronic songwriters."

(c) that's Shanghai Magazine
Chief editor: Steven Crane
July 2005 issue

This new Chinese release of Placebo's singles won't disappoint long-time fans or those new to the band’s brand of urban rock. Influenced by the Pixies and Iggy Pop, Placebo delivers a simple, but effective, blend of punk, pop, glam and alternative rock. With 17 tracks culled from four albums and listed in chronological order, this compilation provides an effective overview of their evolution after nearly a decade of recording.
From their debut album Placebo to the latest, more accessible (commercial?), Sleeping with Ghosts, Placebo’s music documents the band’s evolving state of mind: from teenage angst, sexual doubt and self-centeredness, to maturity.
In later tracks, listeners will notice that lead singer Brian Molko's voice has improved over the years, thanks to stage experience and a rocker's diet of booze and cigarettes. This record, however, is no cut and paste product, rather it's a reworking of their best tunes. For instance, on "Without You I am Nothing," Molko shares vocals with friend David Bowie, while the original "Protect Me" is swapped for a French version, "Protége Moi."
Two previously unreleased cuts, "I Do" and "Twenty Years" offer insight into the group’s future direction. Overall, this CD offers a great introduction to the band and provides enough fresh material for those who already have the first four releases. One question: where is the classic "Nancy Boy" that brought the boys to fame?

(c) that's Shanghai Magazine
Chief editor: Steven Crane
July 2005 issue

Once upon a time, singer-composer Lin Di met bass player Su Yong. Together they self-produced a demo album (Flying) under the name Cold Fairyland. Later on, the pair was joined by three other musicians they’d met and befriended in bars. For the last four years, the band has performed all around China and won fame, if not fortune, in the alternative scene.
In 2003, they released a demo album The Zoon of Stranger (available at www.miyadudu.com). Influenced by Portishead and Pink Floyd, their sound is similar to dream pop, but darker in tone and with the addition of folk elements, exemplified by the cello and pipa, for example. Their ethereal melodies blend feedback and sonic textures with indecipherable vocals akin to Faye Wong or the Cocteau Twins’ Elizabeth Frazer.
Lin Di also has a solo career, one that affords a living; she’s released three world-music albums on a Taiwanese label. The band performs both her solo work and their own music once a month at the ARK Live House in Xintiandi. Cold Fairyland offers all the proof you need that the Shanghai music scene is alive and kicking. With two new works scheduled for summer release, well, what can we say. Stay tuned…

(c) that's Shanghai Magazine
Chief editor: Steven Crane
July 2005 issue

When Brit Keith Gordon met American Jon Taylor, they established, with two laptops and a small keyboard, "Ryukyu Underground;" named after the Japanese Ryukyu Islands, where Okinawa is located. Obsessed with the sound of Okinawa, they blend subsonic bass, ambient sounds and beats with traditional Japanese vocals. This third release is a neatly packaged two-hour, two-CD florilegium of their best; remixed and rearranged by some of the best talent on the planet – Kid Loco, Junkie XL, Bill Laswell, Dub Farm, to name but a few – in studios around the world.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
July 2005 issue

On first listening to Oriental is Beautiful 2, which blends down-tempo grooves and lounge music with Indian and Tibetan influences, it seems the perfect compilation to load up after a wild night out. From Indian/Enigma sounds of Bocanada’s "Fuego", to the catchy percussion and hypnotic Tibetan vocals of David Visan and Michael Winter’s "Tamtra Tibet", to sitar samples and recurrent break beats of Badarali Kan’s "Black Night", this CD just gets better with repeated listenings.
Zeb’s "Romantic" is probably the most emblematic, catchy and delightful track on offer. Featuring Asian string and woodwind instruments and percussion mixed with electronic vibes, this cut pays tribute to its ancient roots with a rich modern sound. The CD bonus track, "Oriental Soft Mixed", includes prime cuts mixed and faded by DJ La Matt.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
July 2005 issue