This article was originally published in the second issue of Masstransfer, 1998.
Vancouver’s Electrosonics have emerged from a succession of lineup changes to release “Rampion”, the follow up to their 1996 self-titled debut EP, on Drive-In records.
The band coalesced three-and-a-half years ago with a nucleus of Eric White (vocals, bass), Heather Campbell (guitar, keys) and Clare Kenny (vocals, guitar). They put a musician’s ad in a local paper, which caught the attention of Curtis Hobson, who had recently quit a band which included an “alcoholically-challenged guitar player”, while Wendy Young joined in December 1997 to fill out guitar and vocal parts. Michaela Galloway was recruited in February 1998 after Clare left the band to return to university.
The Electrosonics debut EP features Clare on vocals and is reminiscent of early 90’s guitar based dream pop bands such as Lush and Slowdive, although Heather also lists the Monkees, Tears For Fears, and the Stray Cats as influences. However, this band adds an ever more textural mood to the mix. They utilize effects processors and obscure synths, such as the Jupiter 8 and the ARP Axxe, to build an emotional climax to their tracks. The last song on their first EP, “Star Scream”, is 8 ½ minutes long and captures groups penchant for slow-building epics.
The band also has a philosophical view regarding the future of music and how they fit in. As White explains, “popular music is a strange amoeba…just when you think it’s atrophied as much as it conceivably can, it stagnates further. Then it starts munching at fringe music. Then it digests it. I don’t really see that process changing. For the short-term though, it looks as though droney and more experimental bands are starting to tinker with structure and dynamics. The opposite is also happening, which is pretty cool. Honest and beautiful music will always exist. Maybe in the new millennium more people will be motivated to find it.”