It seems that the lure of eighties electro and synth pop will never diminish as old bands try to relive their past successes and new bands explore the spices of that decade in their own ideation. UK electro band Filter Distortion is a proposition which wears the inspiration of that era boldly on their creative sleeve, yet twists and transforms it into something distinctly fresh and modern. The proof is in new album Transition, a transfixing collection of virulent electro sculpted songs which ignite ears with infectious imagination and provides the first pop classic of 2015.
The Liverpool quartet of Ian Hall, Wesley Hughes, Phil Morton, and Phil Gofton spent the last year creating and recording Transition before working with engineer and producer Daniel Woodward on its mastering. The result is an encounter which croons and seduces the senses as only eighties electronic music can but with a hungry invention and enterprise bred by electro pop invention and evolution of today. From opening track Black and White, band and album has senses and emotions bound in melodic enterprise and magnetic sounds. Bookended by the revving of a motorbike, for a reason more obvious to the band, the song swiftly blossoms into an Orchestral Manoeuvres In The Dark like enchantment. Outstanding vocals are soon caressing ears within a weave of synth cast elegance, casting their temptation throughout as keys provide a spatial romance for the senses. It is an evocative embrace aligned to darker shadows which only add depth and intrigue to the rich charm and contagion of the song.
The outstanding start is swiftly matched by the vibrant and slightly livelier Pressure, though again it is a reserved stroll of a track with swarthy bass and rhythmic tones courting an evocative synth exploration. Finding a more Depeche Mode like flavouring to its enthralling recipe of craft and electronic persuasion, the track wraps inescapable and resourceful temptation around ears. That leads to an already hungry appetite for the release to get greedier and thoughts keen to dig deeper into the sound of Filter Distortion, something rewarded straight away by the addictive catchiness of Resonator Express and the emotive balladry of Midnight Drive. The third song on the release explores a different eighties seeded avenue as darkly lit strains of keys collude with melodic radiance, the union a riveting dance on ears whilst its successor produces a familiar tempting infused and invigorated with the lure of great vocals and tangy melodies. Thoughts of Andy McCluskey and Paul Humphreys return but equally those of The Correspondents as the croon and boom of the song provides another irresistible enticement.
Frequency Modulation hits the dance-floor next, its bubbly electro canvas potent bait for feet whilst keys and melodies flirt salaciously as vocal samples inform and spark thoughts. Think 
Thomas Dolby does EBM but turned inside out by the invention of Filter Distortion and you get a hint of the inventive and composed stomp lighting up the air before the masterful hug of new single Neon Nights and subsequently previous single Cameras in the Dark appear. The first of the two is pure contagion, chorus and hooks gripping drama revelling in the variety of the vocals and the sultry breath of the sounds around them. It is a captivating doorway into the album and the band’s resourceful sound matched by the second of the two tracks. Featuring guest vocalist Cheryl Anna, the song has a more indie feel with effect lined vocals and a pungent bass tone revealing new veins of the great diversity and exploration running through the band’s songwriting.
When the Lights Go Out provides a darker soulful offering next and though the song misses igniting the passions as successfully as earlier songs, it is an engrossing tune to capture the imagination before Lost Boys gives that OMD inspiration another airing. The track is glorious, every vocal and musical note an epidemic of insatiable persuasion. It is fair to say that there are only highlights on the album but some songs stand slightly above others and the album’s penultimate proposition has one of the loftiest views.
The closing Game Over ensures the album ends on a good and ear catching footing but with its lack of real vocals and unremarkable instrumental premise, it is the least favourite track upon Transition and the only time you almost hanker for another of the album’s treasures instead.
Filter Distortion is quite simply a band for electronic pop fans of all decades. Their sound bridges eras but develops its own personality and uniqueness in doing so, whilst in Transition, the band has as suggested offered the year its first essential pop triumph.
Transition is available now as a digital download and limited edition vinyl @ http://filterdistortion.bandcamp.com/
http://www.filterdistortion.co.uk/
RingMaster 13/01/2015
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delivery and diversity of his attack. This admittedly is more a flavouring of the scene rather than something specific to the band itself but it is telling that the better moments on the album see him and the band stretching that aspect more. The song itself is an enjoyable if familiar design and another soon put aside as firstly the sinister instrumental Malfunction 09 encourages the imagination and The Forgotten Man provokes the appetite with its eighties post punk/electro punk spiced challenge.
scenery before settling into a more restrained grazing of evocative vocals from Benmussa and matching sounds. Predominantly though there is a spatial air to the track, a vast soundscape of aural drama and sonic adventure which drives the music and sets the release off in striking style.
the lead into a weave of vocal harmonies and expression from across the band. That in turn is cradled by a tapestry of keys bred elegance and enterprise. The song emerges as a gentle maelstrom of gripping ideation and aural fascination, the vocals as varied and riveting as the spatial grooves and rhythmic shuffle courting their narrative whilst every immersive note is an exotic kiss upon the senses. Like soaring through a refreshingly muggy landscape, the track is enthralling leaving body and emotions submerged in blissful exploration.
bass breath, adds further simmering heat to the instantly delicious song. It is the perfect pop song, every twist coming with unpredictable yet welcoming ideation and a warmly embracing infectiousness. There is an eighties air to the track too, thoughts of China Crisis and Paul Haig coming to the fore with hints as the opener lights up ears and emotions. Its success is not quite matched but superbly supported by the following pulsating stroll of Love Sees No Colour. With a slightly punchier urgency to its rhythmic intent and pungent electro canvas, the song colours thoughts with a sultry twang of guitar and expressive keys. There is an OMD essence to the song’s elegant melodic croon which in turn is given extra evocative texture and weight by horn like flames and the incessant stride romping through the middle of it all.
around those persistently provocative textures. The equally as tantalising voice of Lindqwister is soon caresses the senses too around that jabbing rhythmic punctuation, the mix of forceful tempting and seductive soothing an enthrallingly magnetic proposition. As the song bounces along thoughts of The Cure, certainly vocally and in the shadowed essences which lurk within the bright sounds, and of A-ha musically make their suggestions. It is a masterful start swiftly matched by Arizona Lights. The second song casts a hazy yet crystalline ambience before eager beats and similarly feisty electronic grooves wrap around ears. As with the first track, and the majority of the album, there is a familiarity to the encounter but a recognisable spicing which only enhances the fun and potency of the offerings. Here a Thomas Dolby/Paul Haig like air makes hints as the song unveils its sparkling revelry.