When it comes to innovative electronic music Brighton is pushing boundaries and tweeking knobs. Anyone who went to Love Thy Neighbour’s series of gigs for Independent Music Week will be able to vouch for this. Both of the acts on this evening’s lineup, AK/DK and Fröst, could easily have appeared on that bill. While their music might not sound similar, Fröst channel Bjork and 1980s synth pop and AK/DK sound like Merlin Tonto’s heavier and poppier relatives, their ethos are similar. Namely forward thinking analogue electronic music.

Fröst are a duo consisting of Johanna Bramli and Steve Lewis. Their brand of future pop, coupled with minimal techno production, deliver a massive punch to the senses. The first thing that strikes your about Fröst’s performance is Bramli’s vocals. Like other synth pop duos before them, Eurythmics and Goldfrapp to name but two, Bramli’s vocals delicately complement the music. When the music is ethereal and fuggy Bramli matches it perfectly with soaring vocal workouts but, when their dance roots start to come to the fore, Bramli, instead of ramping it with visceral power, subtly disappears into melodies, with the help of a vocoder. This was exemplified on their closing track, and latest single ‘Crackling on the Wire’.

However, the star of the set was their cover of Tears for Fears classic ‘Shout’. Instead of grandiose beats, Fröst scale it all back to its basic elements, namely a catch chorus and diaphanous melodies. In Bramli, Fröst really have a front person that the crowd can latch onto, even when the music is empirical or regardless of what language she sings in.

After a short break, which the Brighton Noise DJ’s eloquently filled The Hope with Friday friendly bangers, AK/DK took to the stage. After opening with ‘Kosmische Improv in A’ you knew AK/DK meant business. From the outset massive breakbeats and wonky synths filled a crowded Hope & Ruin. The crowd started to unwind from a hard week at work. Drinks were drunk, grins were shared, and feet stomped. The crowd were as up for it as the band themselves.

During this opening slavo AK/DK gave each other knowing nods and smiles, showing it was time to let rip. And let rip they did. ‘Modulate to Accumulate’ and ‘Maxwell’s Waves’ followed on the heels of the opener. When ‘Maxwell’s Waves’ started up the crowd erupted. Its infectious faux disco beat and catchy synth callisthenics make AK/DK sound like Lighting Bolt’s poppier cousins.

New single ‘Lagom’ demonstrated how far their songwriting has improved since 2014’s debut album ‘Synths + Drums + Noise + Space’. ‘Lagom’ felt richer and more complex, but not giving up any of their trademark bounce and fun. However there was plenty to engage with, other than visceral drumming. There was an underlying ethereal vibe that really drew the crowd in. Their set ended with ‘Morphology’ which felt like it was made of cascading synth loops that were slowly feed-backing and eroding themselves.

It was a night of contrasts. Fröst’s delicate pop music is understated but full of subtle power and melodic intricacies. AK/DK, on the other hand, make a bombastic clamour, full of analogue synths and pounding break beats. This lineup complimented each band’s strengths perfectly, and this should be commended. Let’s hope they repeat it again, and soon, as I need another fix from these musical duos.

Nick Roseblade

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Twitter: twitter.com/AKDKmusic