Christophe-Philippe Oberkampf was an 18th-century industrialist, born in Germany but eventually becoming a naturalised citizen of France. His pioneering production of printed cotton won him the mayoralty of the Parisian commune Jouy-en-Josas, and his legacy is celebrated in the many commemorative place names within the capital’s 11th arrondissement, including the street Rue Oberkampf.
‘Franco-German industrialists’ is an apt tag for the Munich based, Parisian affectionate, cold-wave trio. Formed in 2016 and comprising former DJs Michael Maier, Damien De-Vir, and Julia de Jouy, Rue Oberkampf have confidently established themselves swiftly as one of minimal-synths signature acts, their punchy studio output and thrilling audio/visual live sets praised in equal measure. De Jouy’s cool French vocals atop icy jagged synths struck a chord of subtle menace on last years Waveclash EP, but their penchant for club aggression has been fully explored on debut LP Christophe-Philippe, out via Young & Cold Records.
While chilly analogue production is still present, there’s a greater techno-driven kineticism that aims for dancefloor sweat. Pumped EBM beats pound with chunky sequencer thuds on the primed ‘Glycine’, a propulsive electro-banger which swells to momentous heights with waves of expertly twisting arpeggios and bass lines. Furious club pummeling hits even harder on second track ‘La Course’ (meaning ‘The Race’ in English), an electric six minutes of unrelenting tempos, frosty synth washes and hi-hat claps so lightening charged you could almost mistake it for a Blanck Mass production.
Rue Oberkampf’s minimal-wave shards still cut with satisfaction, but the EBM bite that lurks round the corner lends the record a greater dimension and urgency. Christophe-Philippe is a confident and bold debut statement that stands as one of the best examples of the cold wave scene.
The Glaciers peripheries have shifted a little (global warming p’haps?), and some exotic flavours have snuck its way into the seventh show. Tune in to Bristol’s Noods Radio again next month for more minimal synth and its many coldwave cousins ❄️ 🎹 👌
The amount of fantastic music that made 2018 makes creating a playlist an arduous task. Originally totaling 50+ songs, the painful, gut-wrenching process of elimination to just 25 songs demonstrated just how many tracks there were I loved. This is no objective best of, but a purely subjective collation of the songs that sound tracked my year.
Honourable mentions include the power pop indie of Flasher, MAGA frat boys eaten alive by Pleasure Venom, vomit in your turn ups and piss stinking tales of broken Britain by Hotel Lux, Jarada tearing your face off with their brand of blistering Israeli hardcore, the haunted candle lit flickers of dungeon synth mage Old Tower, and the great return of industrial juggernaut Ministry, with AmeriKKKant being their best record since Animositisomina.
Here’s to the heroes of 2018, and here’s the songs which wooed me, wowed me, moved me, and smashed me in the face like a sledgehammer. Merry Christmas! 🎄