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Stepping out solo from under the sceptre of Hot Chip once again, Joe Goddard has released Electric Lines, the album to fuel late night parties for years to come.

The album is a one that focuses on the groove rather than the abrasively large production we are being fed so often in the electronic scene. Featuring a range of vocalist to create a range of textures across the album, each offering a distinct moment in the album. Fellow Hot Chip member, Alexis Taylor turns the penultimate track, Electric Lines into a haunting piece reminiscent of the greatest moments of the party gone. With its discussion of created world and the fading sense of permanence, the piece is the perfect way to bring things to a close, but this sense of familiarity comes after a journey of its own.

The album itself is sandwiched between pieces featuring Jess Miles, her vocals offering a strong sense of pop to Goddard’s production. It raises the question of why we haven’t see him working with more upfront pop acts in the past. We of course saw this when Music is the Answer was first released, but Ordinary Madness adds an even more exciting side to the collaborative pair.

Whilst those tracks that feature strong lyrics may be the ones that have the radio potential, and are easy to jump to, it’s the moments where Goddard allows his production chops to stand alone that the album hits high marks. Lasers comes out of the blue to an extent. A simple percussion line, with almost sci fi sounding synth lines there is a techy feel to the track that is hard to go past. As the fourth track on the release, it launches straight into the best part of the album. For as great as those feature artists are on each of their relative tracks, it is Goddard that we are here for.

Goddard’s vocals make a sparse appearance across the release, with Children being the standout. The spaced-out track has a late night feel to it, with oozing synth lines juxtaposed by those that shimmer across the top. Sliding just under seven minutes it’s the longest track on the album, but equally the one that you can’t help but wish went for longer. It works in a timeless manner,

Electric Lines is unlikely to gain a significant amount of traction in the market. It’s an album that is all too easy to listen to, and even easier to get let take over our toe tapping capacity, but one that is self-acknowledging niche. Collaborators have been selected to fit the washed feel of the album rather than the reputation of Goddard’s work. As an album, it deserves at least one chance, it’s a reward from stepping away from what the radio plays, but accessible enough that it should be spinning around more frequently. Maybe though, the charm is in the fact it isn’t.



Ayden Measham-Pywell

Tallest kid at every gig // Questionable dancer at best // twitter/instagram: ayds_on_toast