There's a school of thought, mostly driven by me ranting at people until they throw things at me in frustration, that's of the opinion that most darkwave/synthpop that's packing the clubs in Europe has its roots in the demoscene of the late 80s & early 90s. Which in turn was heavily influenced by the stripped-back technopop of DAF, the Human League, Depeche Mode and New Order.
Thus it seems that most of the tracks on Power to the People could have been created on an Amiga - all that's missing are a couple of bob-snakes and some side-scrolling Germlish. This is a good thing, though - Moon Rock seemed to have made a serious effort to conjour up those strange things called tunes, rather than papering over the cracks with the effects rack. And I'm not just saying that because the band look like they've got relations who's middle names are 'the.'
Already Gone and Everybody Everywhere are itching on the sidelines of the club, desperately wanting to be floorfillers, but somewhat let down by a lack of bass-end. I am reminded of Section 25, Spreadpoint and a Thrust megademo in equal amounts.
Alchemy has a good dose of that Ibiza-trance vibe - a wall of analogue synth stabs on the off-beat that signify 'dancefloor stormer' to anyone with even half a sense of rhythm. Further on we find La Grande Dame, which sounds splendidly like old-school Orbital before getting a little maudlin in the middle-eight. Luckily the song pulls itself together, gets another beer from the fridge and breaks into some impromptu funky dancing. Nice one.
Electro Man digs up both 'Rappers delight' and 'Hip hop be bop (don't stop)' and makes both perform bizarre sex acts with a DMX. This is utterly mad, deeply splendid and probably completely impenetrable to anyone under the age of 30.
Do goths do the electic boogaloo? I guess we'll find out here.
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