As one of the most promising new acts in the UK, their sound fits perfectly with The Electricity Club’s mandate to feature the best in new and classic electronic pop.
The blog Fairly Coherent said: “Move over AUSTRA because the good looking duo that is CURXES is storming your hold on dark electro-indie music. For my money, CURXES does everything better”.
CURXES are Brighton based duo Roberta Fidora and Macaulay Hopwood, former members of the more indie HOLD FAST who in their day shared stages with WHITE LIES and CHEW LIPS. Their thoughtful presentation stands hand-in-hand with their dark pop structures. If HURTS are sartorially aligned to the European fashion aesthetics of 30s and MIRRORS look to the 50s, then CURXES fit nicely in between with a stylish, nostalgic ration book chic.
Their homage to the Replicant love of Blade Runner entitled ‘Creatures’ takes a tremendous neo-Neubauten journey via DEPECHE MODEs ‘People Are People’ and ‘Strangelove’ with Fidora’s powerful, emotive voice coming out to the fore. The excellent ‘Jaws’ though is more frantic. Influenced by the 1987 film ‘The Lost Boys’, its a track dating back to their HOLD FAST days and ably assisted by Hopwoods scaling six string riffs a la John McGeoch and Robert Smith. Capturing the tension of the classic ‘World In Action’ opening theme, its clusters of gothic aggression reveal CURXES sonic potential.
That can be summed up by new number ‘Once Upon A Time’ which is an exciting fusion of all those styles plus a slice of KRAFTWERK thrown in. With studio wizard Mr Q as their Tonmeister, its rhythm section consists of a white van, a biro and several other household items!
The brilliant debut single ‘The Constructor’ is gritty mutant syncopation fronted by Fidora in the manner of a synth friendly SIOUXSIE SIOUX. Synthetic choirs and strings hold together over squelchy bass to conjure up auras of times gone by. Despite this, it all feels utterly contemporary. The hauntingly sparse ‘Spires’ sees Fidora enter THIS MORTAL COIL accompanied by Hopwoods COCTEAU TWINS-like textures and some deep bass drones in the manner of JAPAN’s ‘Ghosts’.
Describing themselves as “a decorative set of bones, channeling the ghosts of discothèques past”, CURXES music is a fine example of dramatic Eurocentric overtures seasoned with the sort of echoing guitar that will please synthpop fans who also happen to like THE CURE and SIOUXSIE & THE BANSHEES.
Now taking their stark theatrics out on the road, CURXES are perhaps what the latters 1991 ‘Superstition’ album might have sounded like had there been more intensity and urgency on the table.
Text by Chi Ming Lai
31st August 2011