The Pet Shop Boys will issue SUPER album track Undertow as a vinyl EP next month. This vinyl record (presume it’s a 12-inch) will feature two remixes of Undertow, a remix of Burn, and a new version of Left to my own devices produced by Stuart Price (based on the Super Tour version). As usual, artwork/design is handled by Farrow. There will be no CD single edition of this since they are exclusive to the now sold out Annually book.
'Say It To Me' will be available digitally and on CD single and 12" vinyl. It includes two brand new bonus tracks, "A cloud in a box" and "The dead can dance", and remixes by Stuart Price, Real Lies, Tom Demac and Offer Nissim. In addition, the CD single includes the remix of "Inner Sanctum" by Carl Craig, previously only available on download and limited edition vinyl.
Nostalgia is a powerful tool in today’s music market, selling things back to their original markets in repackaged form, pulling in later adopters along the way. Into this fray of reformations and homages drops a new album from the doggedly evergreen Pet Shop Boys. It arrives on the back of a single, The Pop Kids, that trades hard on warm, fuzzy feelings for clublands of yore – the 90s to be precise – and a symposium on their work at Edinburgh University, which recently sought to endow The Pet Shops Boys’ three-decade marriage of art to pop with the kind of highbrow love afforded to the likes of Bowie. (Sample lecture: “Between revivalism and survivalism: the Pet Shop Boys’ New York City Boy, disco pastiche and the haunting of Aids”.)
…British new wave icons Pet Shop Boys took the Mojave stage in front of a much smaller but undeniably devoted crowd. Keeping in step with the band’s current Electric tour, PSB’s set was an over-the-top visual feast imagined by reknowned costume and set designer Es Devlin. Dancers in animal skulls and other obtrusive headgear flanked singer Neil Tennant and ever-stoic keyboardist Chris Lowe, who treated the fans to a series of flamboyant, futuristic costumes…
A few years after their foray into musicals, the Pet Shop Boys, who are quite possibly disco-pop's most intellectual act, have returned with another project: a live score to Sergei Eisenstein's Battleship Potemkin. Battleship Potemkin was a silent film made in Leninist Russia in 1925, and tells the (somewhat idealized) story of a revolt among sailors of the Czar's Black Sea fleet. Given the Pet Shop Boys' history of playing with Leninist imagery (take, for example, the lyrics to 'West End Girls'), they were a suitably apt choice to do a live score to this film.
2013 release from the veteran British Synthpop duo. Electric features eight new Pet Shop Boys songs, plus a cover of Bruce Springsteen's anti-war track "Last to Die." Stuart Price, best known for his work with Madonna and The Killers, produced the album, which band members Neil Tennant and Chris Lowe call "banging." "Electric is very much set on the dance floor," they said in a statement. "The album often evolves as a response to our previous album and, whereas Elysium had a reflective mood, Electric is pretty banging!" Producer Stuart Price said the album's sound was developed via "various techniques between old school synth and drum machine programming and new school computer mangling." "Thursday" features British rapper Example.
The Pet Shop Boys eighth studio album Release, though not the rock album it was purported to be, does have enough guitar (courtesy of ex-Smiths guitarist Johnny Marr) and percussion to create a sound that's as sumptuous as it is unexpected. It may raise a few snooty eyebrows among synth purists, but this twosome has never really been an electronic band in the purest sense. Neil Tennant's voice is less nasal than it's often been, and the occasional use of that now ubiquitous vocal-wobbling effect (thanks, Cher) actually works very well with his trademarked, introspective-yet-precious lyrics. While there are no big sing-along anthems here, and nothing that screams "single" (with the exception of the Beatles-esque "I Get Along"), almost all of the 10 tracks are the kind of inventive pop that many better-selling artists seem incapable of producing these days.