CREEP SHOW are back and their second album ‘Yawning Abyss’ is possibly more accomplished than their acclaimed debut ‘Mr Dynamite’.
An electronic supergroup comprising of John Grant, Stephen Mallinder, Ben “Benge” Edwards and Phil Winter, ‘Yawning Abyss’ was produced in Cornwall at Benge’s MemeTune studio.
John Grant is a successful singer / songwriter in his own right while Stephen Mallinder first found fame as a founder member of industrial dance pioneers CABARET VOLTAIRE before joining Benge and Phil Winter in WRANGLER.
While ‘Yawning Abyss’ began as a bunch of sonic experiments using mostly Roland and Moog synths before being taken to Iceland for Grant and Mallinder to record their vocals, what particularly comes across in this sophomore CREEP SHOW adventure is its sense of fun and camaraderie, despite the tensions and menace captured within the resultant music.
With Stephen Mallinder slightly distracted by TikToker Rachel and her amusing posts about being disturbed by hearing CABARET VOLTAIRE’s ‘Soul Vine (70 Billion People)’ on a “cursed” mispressing of the Taylor Swift album ‘Speak Now (Taylor’s Version)’, he took time out from his Twitter account and sat alongside John Grant to have a quick chat with ELECTRICITYCLUB.CO.UK about the making of ‘Yawning Abyss’…
How do you look back on the making of ‘Mr Dynamite’ and its reception with your relative fan bases?
John Grant: I just remember that we had a lot of fun in the studio and didn’t really have a specific vision for the record. It was just friends seeing what they could come up with and we all had pretty hectic schedules at the time, so it wasn’t terribly easy to get together.
Stephen Mallinder: I think on reflection it was such a joy because we had no intention other than exploring all the ways the four of us connected artistically and refusing to have anything but a good time doing that. I’m glad people liked it but with respect, we did what we thought was right for us and figured that’s what people would want.
You all met up in Cornwall to lay down the musical bones of ‘Yawning Abyss’, was all the material created from scratch or were there ideas that you didn’t use in your own various guises and productions which were brought in?
John Grant: It was all from scratch.
Stephen Mallinder: It was all us from the very first note…
With this being your second album together, were there any new methods or roles in the creative dynamic that were consciously altered since ‘Mr Dynamite’? Were things even more relaxed this time round as sophomores?
John Grant: I would say we all pretty much played the same roles. Things were even more relaxed this time around. I even fell asleep a few times. While I was singing ‘Yahtzee!’ for example.
Stephen Mallinder: It was a big soup each of us adding ingredients until it tasted perfect. Yes, I had to shake the man awake in ‘Yahtzee!’
Which was everyone’s favourite synths or devices that they used on the album?
John Grant: Maybe the Serge or Mod Cam modular.
Stephen Mallinder: The modular to play hi-hats… old school wrangling…
The lyrics were written and recorded in Iceland, what did that vibe provide that wasn’t possible in Cornwall?
John Grant: I don’t think Iceland made anything possible that wasn’t possible in Cornwall. Except maybe working with engineer Kurt Uenala who has a deep knowledge of Ableton which is what we worked in during the session in Iceland. So he always has a trick or two up his sleeve.
Stephen Mallinder: Iceland was a result of needing to make the most of our available time but it did give things a twist and as John said, Kurt was great to work with and, for me, time in one of the most stunning places on earth.
‘The Bellows’ opens the album and features an array of vocal treatments and Middle Eastern resonances to set the scene?
John Grant: I’m pretty sure this is not a question.
‘Moneyback’ features an alternating avant-rap on crypto currency, how was that inspired?
John Grant: We’re always thinking about the myriad ways the money system sucks as one confronts that all day every day.
Stephen Mallinder: It was a nice way to bounce our voices together and the track pushed it into to the pacey electro vibe.
How did ‘Yahtzee!’ come into being, it’s quite bonkers!?
John Grant: It’s a meditation on the state of things in the US. Pretty much wrote itself. It’s just what came into my head for that music in that moment.
Stephen Mallinder: Pure energy from John and pulls no punches. A response from the gut to the times we live in.
It’s interesting how varied the tracks are with the trancier house influences on ‘Wise and the darker funkier territory of ‘Matinee’ as well?
John Grant: This is also not a question…
Stephen Mallinder: Variety is the spice … we ain’t one trick ponies, nor could ever be.
‘Bungalow’ is possibly the most conventional song on the album, it’s like electronic Bond theme?
John Grant: That sounds about right.
Stephen Mallinder: I think it’s the most beautiful and evocative track on the album – the perfect marrying of one of today’s greatest voices with lush, creeping electronics. An honour to do.
Do you each have a favourite track from ‘Yawning Abyss’? Would you like to do a third CREEP SHOW record?
John Grant: I love the melancholy of ‘The Bellows’ and how haunting the vocoded vox are. We definitely want to do another record.
Stephen Mallinder: I’m with John on ‘The Bellows’ but also think the title track captures what we achieved with the album.
There are a number of live dates coming up this summer, what will be the set up for that and what’s next after?
Stephen Mallinder: Come along and see… who knows what’s on the next page?
ELECTRICITYCLUB.CO.UK gives its grateful thanks to John Grant and Stephen Mallinder
Additional thanks to Zoe Miller at Zopf PR
‘Yawning Abyss’ is released by Bella Union, available in the usual physical and online formats via https://ffm.to/yawningabyss
CREEP SHOW 2023 UK live dates:
Blue Dot Festival (21 July), Hebden Bridge Trades Club (22 July), Latitude Festival (23 July), London, Village Underground (25 July)
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Text by Chi Ming Lai
Photos by Chris Bethell
14 July 2023
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