Author: electricityclub (Page 9 of 418)

“I don’t like country & western, I don’t like rock music… I don’t like rockabilly! I don’t like much really do I? But what I do like, I love passionately!!”: CHRIS LOWE

“Good taste is exclusive”: NICK RHODES

A Beginners Guide to KOMPUTER – FORTRAN 5 – I START COUNTING & Friends

“We are the perfect pop band” said KOMPUTER in 1998 on their debut album ‘The World Of Tomorrow’.

Comprising of Simon Leonard and Dave Baker, KOMPUTER emerged in 1996 as a response to OASIS ripping off THE BEATLES; “We decided that someone should rip off KRAFTWERK, so we did, and the name we chose was KOMPUTER” . said Baker, “Subsequent releases were less obviously KRAFTWERK influenced and still do!”

But some were not into the concept with one observation being remembered by Baker written in a review of a 1996 show at The Garage in London: “My memory of that Garage gig is a very animated and upset young man in an ill-fitting jumper, spilling Tuborg about the place, screaming at the top of his voice, ‘WHAT IS THE FACKING POINT?!’”

Simon Leonard had released experimental music in 1979 as FILE UNDER POP with the Rough Trade single ‘Heathrow’ and as AK PROCESS with the self-explanatory ‘Electronic’ on Output Records. Meanwhile Dave Baker played keyboards in a band called SONS OF CAIN; “I had no creative input except for keyboard parts” he recollected, “I got increasingly fed up and walked off stage one night in the middle of a gig and left the band!”

Baker and Leonard had met at Middlesex Polytechnic in 1982 and bonded over a love of pop. With Baker’s own first experiences of synth sounds coming from ‘Switched On Bach’, then Tomita’s ‘Snowflakes Are Dancing’ and ‘Autobahn’ coupled with Leonard’s experience of having already released electronic music, it was only natural that they would become a synth duo.

Named after the coming-of-age drama thriller starring Jenny Agutter, they became I START COUNTING, signing to Mute Records in 1984. “Some of the synths we started with are still in use” Baker told ELECTRICITYCLUB.CO.UK, “Roland 100M modular system, Roland VP330, Korg MS20. A little later the Roland SH101 twins arrived, then the Yamaha CS30. When we started as I START COUNTING we used a Roland MC 4 sequencer, then an MC500, followed by Atari based sequencing. We started using Ableton Live as KOMPUTER.”.

Despite I START COUNTING opening for ERASURE on their 1987 European tour, the musical landscape was changing. The new music that Leonard and Baker were making fell under the spell of techno as the dance music revolution took hold. So in 1990, “for a fresh, initially anonymous start and a new dancey direction”, the duo became FORTRAN 5.

FORTRAN 5 was of a more collaborative umbrella, working with a variety of artists including Thrash from THE ORB, DJ Colin Faver, Neil Arthur, Jocelyn West, Katharine Blake, Larry Graham, Rod Slater of THE BONZO DOG DOO-DAH BAND and Derek Nimmo. Samplers became the order of the day. Baker remembered “the original Mute studio above Rough Trade in Kings Cross had an Akai S612, then we got our own Greengate DS3 sampler, followed by the Akai S900 and S1000, followed by an Emu E5000 which is still in use”.

Despite their first live appearance in while at London’s Electrowerkz in 2019, currently “KOMPUTER is resting but may revive any time” said Baker, “Meanwhile I continue to release material as LONELYKLOWN. I have also just re-released my OOO EEE OOO album ‘Burning Through Time’ on CD and digital. All my solo music is available from my Bandcamp at https://davethekeys.bandcamp.com/

Material from their three main incarnations was combined in 2011 for the release of ‘Konnecting…’ and while all these different monikers and side projects could be a challenge to follow, they served a purpose; “Because we refreshed our musical identity once in a while” said Baker, “we re-evaluated our working methods and priorities regularly”

So with commentary from Dave Baker himself, here is ELECTRICITYCLUB.CO.UK’s 20 track Beginners Guide to the KOMPUTER axis and its many konnections…


AK-47 Stop! Dance! (1981)

Named after the assault rifle by Soviet small arms designer Mikhail Kalashnikov, AK-47 was another solo moniker of Simon Leonard. A lively slice of minimal synth with the vocodered phrases that referenced the weapon, ‘Stop! Dance!’ was released a year before Leonard met David Baker – “Simon was working with other people when I joined but they gradually stopped contributing, leaving the two of us. We were friends, DJ-ed and discussed music before we started working together.”

Available on the compilation boxed set ‘Musik Music Musique 2.0 1981 – The Rise Of Synth Pop’ (V/A) via Cherry Red Records


I START COUNTING Letters To A Friend (1984)

The first I START COUNTING single was produced by Daniel Miller. ‘Letters To A Friend’ was “Our first release on Mute” reminisced Baker of the charmingly deadpan English pop tune with a bright glassy backdrop that sounded like it was recorded in a church. It was “demoed on a Portastudio at Simon’s stepmum’s in Hampstead. Programmed on Daniel’s Synclavier at his mum’s in Decoy Avenue. Musically inspired by a CULTURE CLUB song, lyrically autobiographical”.

Available on the I START COUNTING / FORTRAN 5 / KOMPUTER compilation ‘Konnecting…’ via Mute Records


I START COUNTING Still Smiling (1985)

Also produced by Daniel Miller and with the metallic resonances of ‘Some Great Reward’ era DEPECHE MODE, the bouncy ‘Still Smiling’ was “Almost a sequel to ‘Letters To A Friend’” recalled Baker, “The B-side was ‘There Is Always The Unexpected’ which foretold our future experimentation! Simon and I have both always loved and admired the Daniel Miller and Flood’s extended remix of this. Adrian Sherwood did an amazing one too”.

Available on the I START COUNTING / FORTRAN 5 / KOMPUTER compilation ‘Konnecting…’ via Mute Records


I START COUNTING Ra! Ra! Rawhide (Rasputin) (1988)

Using an edited JFK quote “Communism is the wave of the future” on the artwork while turning Frankie Laine and BONEY M into a musical Frankenstein’s Monster, Dave Baker recalled this early example of a mash-up (before the term existed) as: “A biting piece of political satire bookending the American cowboy classic ‘Rawhide’ and the classic Russian anthem ‘Rasputin’, which so inspired LADY GAGA. There was a scathing review by Mark E. Smith somewhere”.

Originally released on the I START COUNTING single ‘Ra! Ra! Rawhide (Rasputin)’ via Mute Records, currently unavailable


FORTRAN 5 Heart On The Line (1991)

‘Heart On The Line’ was an airy part spoken-part sung folky number with a blissful electronic dance backdrop number was that deserved to be hit when the UK charts was full of rave-driven novelty material that was far inferior. “The original demo sampled the intro from the BLONDIE song ‘X Offender’” said Baker, “Vocals by two of MIRANDA SEX GARDEN (we helped produce their first single in return). Remixes by Vince Clarke, Moby and Justin Robertson!”.

Available on the album via the I START COUNTING / FORTRAN 5 / KOMPUTER compilation ‘Konnecting…’ via Mute Records


FORTRAN 5 featuring DEREK NIMMO Layla (1993)

A superb eccentric upper class reading of ‘Layla’ that saw “Derek doing Derek”, Eric Clapton’s worldwide hit (which incidentally he DID NOT play the signature riff for, that was actually Duane Allman!) was turned into classic English poetry over bouncy electronic backing – “Derek Nimmo was a famous 70s comedy actor” Baker remembered, ”We actually got him in the Mute studio to record this. He was very entertaining and humble!”

Available on the album via the I START COUNTING / FORTRAN 5 / KOMPUTER compilation ‘Konnecting…’ via Mute Records


FORTRAN 5 VP330 (1995)

Named after the Roland Vocoder Plus VP330, Baker said “That VP330 has been through a lot but it still works perfectly. Bought new 1979/80, toured around UK and Europe, on loan to Studio Mute for a few years, now part of my home studio set up. A few of the keys have melted patches where Simon rested cigars”. Using the VP330’s distinctive if less realistic synthetic choirs, the track had an eerie KRAFTWERK resonance in a sign of things to come.

Available on the FORTRAN 5 album ‘Avocado Suite’ via Mute Records


JOHN CAME Ink Tank (1995)

Rumoured to have been ERASURE in disguise, John Came was actually a Leonard and Baker side project where a singular persona was adopted to create the illusion of a lone frontman. Baker remembered that the sinister robotised ‘In Tank’ was “The only track on the album ‘Rhythmicon’ with vocals. These were produced by a custom made talking box, which required painstaking and time consuming programming. We made a brilliant video on Super 8 film”.

Available on the JOHN CAME album ‘Rhythmicon’ via Mute Records


KOMPUTER Valentina Tereshkova (1996)

Embracing the “K” word and mining ‘The Model’ while speeding it up, this was a tribute to the first female Cosmonaut Valentina Tereshkova. But Baker recalled how the song could have come out quite differently: “An original demo was made with Claudia Brücken, with completely different melody and lyrics. The eventual lyrics were inspired by BONEY M’s sometimes biographical style. An anonymous, instrumental 12” was also released”.

Available on the KOMPUTER album ‘The World Of Tomorrow’ via Mute Records


KOMPUTER Terminus – Memory Man (1998)

The highlight of the debut KOMPUTER album as ‘Terminus Interminus’ with its strong ‘Trans-Europe Express’ in outer space vibe, ‘Terminus’ came in a number of variants without the original’s transport narration. A remix by German DJ COSMIC BABY was chosen to be the single but Baker preferred “An excellent mix by the very talented Mr Daniel Miller” as Memory Man which provided a frantic electro tension not present on the other versions.

Available on the I START COUNTING / FORTRAN 5 / KOMPUTER Digital Deluxe album ‘Konnecting… (B-Sides And Rarities)’ via Mute Records


KOMPUTER Kompaktor (2002)

Taking a far more abstract experimental approach on the second KOMPUTER long player, ‘Kompaktor’ was “Inspired by the sounds of a large rubbish crushing machine on Old Spitalfields Market, where Simon and myself worked for many years. It made very loud creaking, wailing sounds like some gigantic elephant or something. From the album ‘Market Led’ which used many samples from both the market and discarded records we reused”.

Available on the KOMPUTER album ‘Market Led’ via Mute Records


KOMPUTER My Private Train (2003)

Compiled by Wayne Clements of Essex duo MACONDO, ‘Robopop Volume 1’ was possibly the closest thing to the ‘Some Bizzare Album’ in the 21st Century. ‘My Private Train’ dated from ‘The World Of Tomorrow’ sessions and was “Never given a standalone release” as Baker recalled, “it was included on a synthpop compilation. I still really like this song. A video was made on a train journey we made between London and Scotland to play at a festival”.

Available on the compilation album ‘Robopop Volume 1’ (V/A) via Lucky Pierre Recordings


KOMPUTER Headphones & Ringtones (2007)

After the pure KRAFTWERK homage of their debut and the experimental sampling of its follow-up, the third KOMPUTER album ‘Synthetik’ explored the brave new world of virtual synths. ‘Headphones & Ringtones’ was an impassive but witty observation on how music consumption had changed in the 21st Century. “The title came from a line from another song, ‘Night Bus’, which was demoed but never released” said Baker.

Available on the album via ‘Synthetik’ via Mute Records


ERASURE Victim Of Love – KOMPUTER Mix (2009)

Having already remixed ERASURE previously as FORTRAN 5 with their ‘Lay All Your Love On Me (No Panties Mix)’, Leonard and Baker were back again with a new take on ‘Victim Of Love’ for the companion piece of the expanded ‘Total Pop! The First 40 Hits’ collection: “I just listened to it for probably the first time since making it and thought it sounded very good” said Baker, “I think the idea was to make it sound more ERASURE than ERASURE”.

Available on the ERASURE compilation album ‘Pop Remixed’ via Mute Records


OMD The Right Side? (2010)

‘The Right Side?’ was the closer of the ‘History Of Modern’ album featuring new vocals, lyrics and melody from Andy McCluskey who had an idea based on ‘Looking Down From London (Metroland)’ after hearing the KOMPUTER remix; “Andy from OMD rang me to ask permission to use our track. Of course we agreed. We were very surprised and pleased with the resulting song, which basically kept our original intact as the basis”.

Available on the OMD album ‘History Of Modern’ via Blue Noise


BLANCMANGE God’s Kitchen – KOMPUTER Remix (2014)

With ‘Happy Families Too’, Neil Arthur wanted to approach BLANCMANGE’s classic debut album using modern technology with updated references like “I’ve just been shopping… online!” on ‘Kind’. The bonus tracks were remixes by Vince Clarke who reworked ‘Living On The Ceiling’ and KOMPUTER who did ‘Cruel’ and ‘God’s Kitchen’; “This is really very good” said Baker of the latter, “I don’t remember anything about making it at all!”

Available on the album BLANCMANGE album ‘Happy Families Too’ via Blank Check


DAVE THE KEYS The Lights Of The Pub (2020)

“My first solo release for the first Lockdown Christmas of 2020”, Baker had envisaged ‘The Lights Of The Pub’ “as a ‘Fairytale Of North London’, it was a tribute to all the pubs standing empty at this time, remembering festive seasons of the past and looking forward (hopefully) at future ones. It specifically referenced The Lamb on London’s Holloway Road, where I play piano every Thursday and raised funds for a Crowdfunder in aid of the pub”.

Available on the single ‘The Lights Of The Pub’ via https://davethekeys.bandcamp.com/track/the-lights-of-the-pub


KOMPUTER Spacer (2020)

From a charity collection comprising of 22 cover versions, it featured an enjoyable Komputerised take on the 1979 Sheila B Devotion disco classic complete with dreamy vocoder. Baker said ‘Spacer’ was “One of very few cover versions we have ever done, released on a compilation in aid of a Crowdfunder for The Lamb pub. The original is one of my favourite ever 12 inch singles, with genius production from Nile Rogers and Bernard Edwards of CHIC”.

Available on the compilation album ‘Hatful Of Holloway’ (V/A) via Lamb Ade at https://smarturl.it/hatful-of-holloway


OOO EEE OOO Summer 20 (2021)

Taken from the OOO EEE OOO album ‘Burning Through Time’ released on limited edition cassette only in 2021 and re-released on CD and digital in July 2024, Baker added “This is my favourite track on the album, including snatches of radio noise and speech as well as field recordings from local walks in Queens Wood, Highgate. I like to think it conjures up an atmosphere of being suspended in time in an endless summer”.

Available on the OOO EEE OOO album ‘Burning Through Time’ via https://davethekeys.bandcamp.com/album/burning-through-time


LONELYKLOWN Everything I Try To Do Is Wrong (2022)

Waste not – want not, ‘Everything I Try To Do Is Wrong’ was “actually a rejected KOMPUTER song. During Lockdown I would walk to Simon’s flat in Crouch End every Friday and exchange ideas. I would give him a USB stick with audio on and he would give me handwritten lyric ideas. This was a combination of verses Simon wrote and a chorus idea I’d had a while ago. Simon didn’t think the resulting song was really KOMPUTER so I asked if I could have it”.

Available on the LONELYKLOWN EP ‘Wrong X4’ via https://davethekeys.bandcamp.com/album/wrong-x4


ELECTRICITYCLUB.CO.UK gives its warmest thanks to Dave Baker

https://komp46.wixsite.com/komputer

https://www.facebook.com/KomputerOfficial

https://www.instagram.com/komputerdave/

https://twitter.com/komputerdave

https://linktr.ee/lonelyklown

https://open.spotify.com/artist/1gEqsqT3mT13pTcUhEyzzs


Text by Chi Ming Lai with thanks to Simon Helm
22nd October 2024

HARALD GROSSKOPF Strom

October 2024 sees veteran German synthesist Harald Grosskopf turn 75.

To celebrate, he releases a brand new album ‘Strom’ and publishes his autobiography ‘Monsieur Séquenceur’ in Deutsch which will be of interest to anyone remotely interested in Deutsche Elektronische Musik.

Harald Grosskopf had been the drummer of WALLENSTEIN, THE COSMIC JOKERS and ASHRA, working with Manuel Göttsching in the latter while some of his most notable sessions were with Klaus Schulze on his albums ‘Moondawn’, ‘Body Love’ and ‘X’.

But while in between projects, with the encouragement of friend and composer Udo Hanten, Grosskopf’s desire for making music led him experiment with a Minimoog, Korg PS3200 and an ARP 16-Step Sequencer alongside his drums. The end result was his wonderfully dreamy solo debut ‘Synthesist’ released in 1980; fans of the record included Andy McCluskey, Mark Reeder and Jean-Michel Jarre.

Grosskopf’s desire not to repeat himself has meant he has not been prolific as a solo artist, although over the years, he continued working with Manuel Göttsching in ASHRA as well as undertaking various collaborations Steve Baltes, Eberhard Kranemann, Thorsten Quäschning and Axel Heilhecker. Now after several years in the making comes ‘Strom’, translated from German as “electricity” and looking not that dissimilar the English word “storm” which could also sonically apply to this work.

Opening salvo ‘Bureau 39’ demonstrates an aural heritage with ‘Synthesist’ which is no bad thing, absorbing yet acting as a relaxant within a kaleidoscopic soundscape that twists with bursts of Doppler engine noise. Moving into more grinding territory, ‘Blow’ possesses a fierce marching rumble. There is a sharp use of rhythm on this album, as can be heard on ‘Später Strom’ but its overall gallop and texturing wouldn’t have sounded out of place on ‘Synthesist’, save the percussive sample template.

There are the more breezy overtures of ‘Gleich Strom’ but experimental and noisy, both ‘After The Future’ and ‘Um Pah Pah Uh’ almost do away with melody and reveal some quite unsettling voices, the former growling “NEVER” like a twisted character from The Brother Grimm while the latter also plays with eerie Middle Eastern overtones.

Like a passing express locomotive, the strident ‘Stylo Kraut’ is the album’s driving centrepiece, building towards a cosmic metallic fervour. Meanwhile the closer ‘Stromklang’ wouldn’t sound of place in a club, displaying a stomping affinity to dance culture over a sinister backdrop with cutting stabs of synth duelling with more spacey shimmers and rolling arpeggios.

‘Strom’ is an album that merges Harald Grosskopf’s classic melodic synth sound with the digital machine of today for a fully charged body of work. It retains enough familiarity while going off on various sonic tangents and abstract adventures to satisfy many a listener of more esoteric electronic forms.


‘Strom’ is released by Bureau B on 18 October 2024 in CD and vinyl LP formats, available from https://shop.tapeterecords.com/records/bureau-b/

Download available from https://haraldgrosskopf.bandcamp.com/

https://www.haraldgrosskopf.de/englisch/home.html

https://www.facebook.com/Harald-Grosskopf-121526524593386/

https://www.instagram.com/harald_grosskopf/


Text by Chi Ming Lai
Photos by Markus Luigs
16th October 2024

ITALOCONNECTION Midnight Confessions Vol2

ITALOCONNECTION are the veteran duo Fred Ventura and Paolo Gozzetti whose ethos of is “to sound vintage in a modern way”.

Although ITALOCONNECTION released a self-titled debut album in 2013 comprising of their own tracks as well as productions and remixes for other artists, it wasn’t until ‘Metropoli’ in 2017’s that they released their first proper album.

In 2021, ITALOCONNECTION issued ‘Midnight Confessions Vol1’, an excellent danceable pop record themed around love. For Fred Ventura, an Italo disco trailblazer since first solo releases in 1984, “The production of this album was like a long journey, going through bad weather and back to the sun several times. We had to face the reality of working from distance and without the usual production jam we used before the pandemic”. More material was written than could be included so now comes ‘Midnight Confessions Vol2’.

‘Midnight Confessions Vol1’ featured guests including Swedish performance artist Tobias Bernstrup and French superstar Etienne Daho on lead vocals and while there are no star names this time round, in addition to Ventura’s voice, there is the return of Francesca Gastaldi who featured on 2018’s ‘Humanize’ and Jaia Sowden who sang Jay-Jay Johanson’s ‘On The Radio’ for the interim covers album ‘Nordisko’ of 2023.

‘The Wait’ is superb, with warm electronic bass and catchy sequences like the best imperial phase PET SHOP BOYS providing a fine opening. Into the night, the instrumentally strong ‘Lover 2 Lover’ does the same and is uplifting despite the melancholic lyrical lilt.

Not an OASIS cover, ‘Live Forever’ sees Francesca Gastaldi’s shine brightly over a robust electronic backdrop with some glorious uplifts. The octave bass laden ‘Cold War Lovers’ is more enigmatic with a delightfully long instrumental introduction but no less catchy in its presence as Ventura laments the lack of disco interaction as a metaphor calling for peace in the world

Despite the lost love, Why’ retains an optimistic mood in a pacey cacophony of electronics laced with percussive breaks. Meanwhile simultaneously pulsating, swooping and droning, ‘Systematic’ plays on the sixteens to offer a colder take on Italo while being no less hook laden. With “impact and disorder”, ‘Just Like Water’ is laced in melody with Jaia Sowden providing her wistful touch in a bittersweet story of discontent and disconnect.

En Français using an AI generated female voice, ‘Europa’ pays homage to the art movements and machine music of the continent in a dramatic midtempo spoken word piece accompanied by thematic synth passages that could be Jean-Michel Jarre while giving KRAFTWERK, EURYTHMICS, TELEX, PET SHOP BOYS, PROPAGANDA, NEW ORDER, YAZOO, DAF, EINSTURZEN NEUBAUTEN, ULTRAVOX, LES RITA MITSOUKO and many others a name check.

The ‘Midnight Confessions’ title song generates a throbbing bass triplet over a lone analogue drum machine before building into a cascading disco track with bursts of sharp synth. With an alluring middle eight from Francesca Gastaldi, it provides a fitting conclusion to this enjoyably immediate long player.

As with all ITALOCONNECTION releases, the production is clean and danceable without being overbearing, making it suitable for the home, the car, the radio or the disco. It’s one for lovers of classic European electronic pop with that warm romantic Italian touch.


‘Midnight Confessions Vol2’ is released by Bordello A Parigi as a vinyl LP available direct from https://bordelloaparigi.com/shop/vinyl/italoconnection-midnight-confessions-vol-2-lp/

Download available on the usual platforms including https://italoconnection.bandcamp.com/album/midnight-confessions-vol-2

https://www.facebook.com/italoconnection

https://www.instagram.com/italoconnection/

https://italoconnection.bandcamp.com/


Text by Chi Ming Lai
14th October 2024

FRANK CHICKENS: Ninja Legends 1983-1989

Japanese punk pop performance group FRANK CHICKENS release a retrospective boxed set ‘Ninja Legends 1983-1989’ on Cherry Red Records.

As befitting the title of the set, FRANK CHICKENS (who were named after a brand of Japanese stationery) have a significant cult following and have often been credited for introducing Karaoke into the UK mainstream via their founder Kazuko Hohki’s Channel 4 show ‘Kazuko’s Karaoke Klub’.

Included are their first three albums and a selection of BBC sessions recorded for John Peel, Richard Skinner and Janice Long; their delightful cover of ‘Blue Canary’ recorded for the former with a spoken introduction about a miserable Japanese housewife in Milton Keynes was placed at No42 in his 1984 Festive 50.

Although originally a trio, the eventual nucleus settled on Hohki and Kazumi Taguchi; the former arrived in London as a tourist and had grown up reading English children’s books with their awkward humour. Having observed the London Musicians Collective at play on her second day, she decided to stay in the UK having found a place where artistic misfits like her could thrive. Performing that day were David Toop and Steve Beresford of THE FLYING LIZARDS who would later become FRANK CHICKENS collaborators.

It was while at Camden Arts Centre that Kazuko met Kazumi who was invited to watch a performance of the Japanese American Toy Theatre which Kazuko had co-founded. Part of the performance saw Hohki singing a Japanese pop ballad using Karaoke backing. Afterwards Kazumi suggested to Kazuko she could sing it better and that they should form a band.

Influenced by pop, punk and traditional Japanese music, FRANK CHICKENS came to the attention of John Peel who invited them to record a session for his late night radio show in 1983. About the same time, the original three-piece appeared on stage at London’s Clarendon Hotel Ballroom. In the audience was David Toop who afterwards enthused to his colleague Steve Beresford about how they could help realise FRANK CHICKENS’ ethos into original collaborative songs.

With Toop and Beresford co-producing, FRANK CHICKENS released their debut single ‘We Are Ninja (Not Geisha)’ in March 1984. This slice of quirky electro art funk became an independent chart hit, showcasing their socio-political constructs of borders, race and gender through eccentric but humorous storytelling.

Expressing themselves as women in a manner than would have been frowned up in their own country, there were however prejudices to overcome in their adopted home of the UK. In a more racist environment than today, not helped by the then-Prime Minister Margaret Thatcher’s anti-immigrant stance, FRANK CHICKENS challenged the myths separating East and West, while highlighting the absurdity of the dual stereotype that saw Japanese women as submissive geisha or mysterious femme fatales.

On a roll, the parent album ‘We Are Frank Chickens’ followed and was also an independent chart hit that combined multi-cultural pop with the avant garde. It was an impressive debut with opener ‘Cheeba Cheeba Chimpira’ falling under the spell of hip hop while ‘Mothra’ played more with traditional exotica elegance.

Like an uptempo crime series theme, ‘Yellow Detective’ had slinky sax thrown in amongst the electronic squelch and sampled strings. But combining synths and Japanese traditional textures, ‘Shellfish Bamboo’ threw in spoken narrative and street rows about men with long necks in the market while ‘Fujiyama Mama’ was delightfully oddball.

‘Pikadon’ experimented with reggae inflections while the ‘We Are Frank Chickens’ title song with its abstract chant took on the rhythmic influence of Prince. The wonderful ‘Sake Ballad’ closed the album with a melancholic drama about how “I drink to kill my memory”, lamenting a love that cannot be, soundtracked by gorgeously sad string quartet.

Released in 1987, second album ‘Get Chickenized’ continued the satirical mockery of cultural stereotypes but touched on other topics; lesbian love was the subject of ‘Two Little Ladies’ while the rockier ‘One Million Hamburgers’ reflected on consumerism. ‘We Say You Say’ utilised an R ‘n’ B backdrop and a “GET CHICKENIZED” hook to challenge ethnic stereotyping further but entering Jimmy Jam & Terry Lewis territory, ‘Solid Life’ made a good go at the soulful pop of the period.

Featuring lively LinnDrum and brassy synths, FRANK CHICKENS referenced Gary Cooper in ‘High Noon’ as an example of ‘Sacred Marriage’ while ‘Street Angels, Tokyo’ drove along with speedy programmed cowbell like it was taken straight from a Jerry Bruckheimer action movie of the period. Further reflecting the broader musical church of the record,. ‘Monster’ burst with surf guitar  while ‘Yellow Toast’ headed to Greece with bursts of bouzouki to provide an unusual twist and another challenge to racial stereotypes. To close ‘Get Chickenized’, ‘The Dark’ provided an experimental slo-mo séance and ‘House Of Ninja’ surprised as if on the nose with current trends in a spacey upbeat house track.

After a tour of Australia and New Zealand in Spring 1988, Kazumi Taguchi decided to take a break from FRANK CHICKENS and was replaced by new singer Atsuko Kamura on the third album ‘Club Monkey’. There were more changes as Grant Showbiz, Justin Adams and Clive Bell stepped into the studio team. With Kazuko now co-writing with them, themes changed with the ‘Club Monkey’ songs inspired by Hong Kong martial arts and zombie films. Based on a story about a club where an English aristocrat gets defeated by two Asian women, the idea had been premiered as a Christmas musical 1988 with money from the Greater London Arts Association.

‘Club Monkey’ opened with the smooth sophistipop of the album title song and ‘Waiting For A Dog’ offered more adventures as it explored the blues. ‘Burn That Body’ ventured into pacey electro and the gorgeous traditional ballad ‘Revolution’ put ethnic sounds into mix. ‘Night Drain’ was an idiosyncratic funk collage with chants of “mind the gap” while ‘Feed Me’ adopted a sunny Spanish flavour. But the album’s highlight was the synth driven ‘Jackie Chan’, a celebration of South East Asia’s biggest action film star did all of his own stunts.

There were further explorations into other musical territories like ‘Shaken By God’s Hand’ with its cowboy accordion and harmonica while ‘M.Y.T.H.’ ventured into the indie-rock of THE SMITHS. Concluding ‘Club Monkey’ was the album’s thematic outlier ‘Do The Karaoke’ which saw Kazuko and Atsuko take turns to prophetically tell the world about a plug-in machine where you “no longer need a band” to sing along to ‘My Way’!

There were two more albums ‘Pretty Frank Chickens’ in 1991 and ‘床下 Underfloor World = Yukasita Underfloor World’ in 1994 both co-produced Clive Bell that were issued only in Japan, but while there have been no new releases since, FRANK CHICKENS continue to be proudly led by Kazuko Hohki.

Today South East Asian culture now everywhere and part of the everyday, be it in cinema, music, gaming, food or fashion. With the group now expanded to a multi-national performance ensemble with over 20 members, FRANK CHICKENS participate in events ranging from one-off happenings at The Barbican or Union Chapel to huge outdoor culture showcases like the annual Japan Matsuri in London’s Trafalgar Square… who would have thought that would happen in 1983?

Speaking Frankly, FRANK CHICKENS ‘The Movie’ from 2012 says at the start “Laugh at them, laugh with them, above all – enjoy them!” While not everything is this set hits the spot, ‘Ninja Legends 1983-1989’ is a perfect (re)introduction to world of FRANK CHICKENS. It will make you smile 😊


‘Ninja Legends 1983-1989’ is released by Cherry Red Records as a 4CD boxed set on 18 October 2024, available from https://www.cherryred.co.uk/frank-chickens

FRANK CHICKENS will appear at Ura Matsuri on Saturday 19 October 2024 which takes place at London’s Hoxton Hall – tickets available from https://www.uramatsuri.com/

https://www.kazukohohki.com/about-frank-chickens/

https://www.facebook.com/frankchickens001

https://x.com/FrankChickens_

https://www.instagram.com/frank_chickens_ninja/


Text by Chi Ming Lai
11th October 2024

CHARLIE Interview

Photo by Maidje Meergans

CHARLIE recently released her first EP ‘Spacewoman’. Not to be confused with the classic 1984 Italo disco track ‘Spacer Woman’ but named so in homage, the EP is the work of Berlin-based DJ, musician and producer Leona Jacewska.

She opened her account with ‘Polarity Walk’, a track on the various artists ‘Mechatronica Aid EPII’ in support of Berlin-based artists during the 2020 lockdown while her 2022 single ‘Cold Inside’ was remixed by the notable Danish DJ Flemming Dalum. She has also become notable for her series of SZUM electro events in Krakow as part of the Italo-Proto scene

An immensely satisfying retro-futuristic EP that works in the head as well as on the dancefloor, ‘Spacewoman’ showcases CHARLIE as a talented electronic dance producer of worth. She spoke to ELECTRICITYCLUB.CO.UK about her background and creative ethos.

What attracted you to DJ-ing and making electronic dance music?

I was always passionate about music and loved playing instruments. Playing music with other people together or sharing a feeling through music always made me feel connected with them in a different way. Electronic Music does that on the dancefloor too. An experience witnessed together and connecting in a special way.

How did you decide Berlin would be the best place to relocate in the pursuit of your interests?

I grew up in Berlin and went to school here. The reason I came back was a grant that came through and allowed me to work in the studio.

Photo by Joanna Wzorek

In Berlin, there does appear to be a tight electronic community where everyone is happy to help each other out, how has this benefitted your development?

True, I love the music community in Berlin. In Poland we also help each other out a lot, but the main difference in my experience is, that the music scene in Poland is a family whereas in Berlin, the music infrastructure is more developed. Thanks to that I have discovered different sides of the music world and other possibilities for my personal development.

How did you become involved in Berlin’s Italo-Proto scene?

Good question! I think that has been the music direction I have been heading for years thus event offers as well as release offers came within that circle. I’d be also a part of it moving to another corner of the world. I think nowadays you are already part of different communities via internet, because the music connects you 🙂

You have organised numerous events, have any particular ones stood out which you gained the most satisfaction from?

Hosting any artist for a weekend or day gave me the biggest inspiration and sharing that with my friends and the audience was the cherry on it. Everything I wanted to learn about live set-ups, sequencers, synths and music production came mostly from other artists I have spent time with. The excitement about it was one of the best moments of my life and I am happy to be still friends with most of my guests.

Photo by Joanna Wzorek

You released your first track ‘Polarity Walk’ for the various artists ‘Mechatronica Aid EPII’ in support of Berlin-based artists during the 2020 lockdown, how did you decide that would be the most appropriate one to open your account with?

It was not a strategic decision. I had that track recorded for a while and initially thought to add it with other tracks in an EP, but as COVID changed so many plans, I accepted the kind offer of Mechatronica, a label and collective I love and respect and was doing a beautiful thing for the community with the Aid release.

You have just released your first EP ‘Spacewoman’ and the title song was a trailer single… were you aware there was the similarly titled cult Italo song ‘Spacer Woman’ by the other CHARLIE in 1984?

Yeah, ‘Spacewoman’ had a double fit. The track already had a space-ish vibe and in an unconscious stream I used the lyrics “I’m the spacewoman in the cosmic trance” in the break. It felt cheeky to call the track ‘Spacewoman’ afterwards, as a response to all the jokes and questions I’ve heard for years from people whether I did the old ‘Spacer Woman’. Finally I can say “No, I did ’Spacewoman’”

Photo by Wioletta Drozd

Is the theme of the song ‘Spacewoman’ autobiographical? What was the music inspired by?

Autobiographical in the sense that yes, I am sometimes lost in time. Still carrying synths from the 80s instead of moving on, but what can I do? I’m so nostalgic! The music itself is inspired by all the Italo I have been listening during the years and I wanted to add a DJ-able touch on it with a little drop and “harder” drums.

From the new EP, ‘Let Go’ is very hypnotic, like Chicago meeting Italy, how did the track come together?

I was preparing a new live show for the support act for Arnaud Rebotini. While programming a short bassline as a layer, I played it with just a kick, and realised I like the contrast of a bit less going on in the middle of the live show and thought maybe it’s cool to add only vocals on top of that. The vocals came from my mood that day and after the phrase “Let Go”, I knew I have to give the track some groove and energy, so people dancing to it can really let go.

How did you decide to sign this EP to Wrong Era, the sub-label of acclaimed Italian label Slow Motion who have been involved in the Italo disco revival?

 My first live show ever was booked with co-label boss Franz Scala, who asked me for a demo afterwards. At the time, I was perfectly familiar with Wrong Era, I have so many records from the label and it’s the perfect combo of New Beat, EBM and Italo, which I admire.

Your Instagram has plenty new and vintage synths in view, which have been your favourite synths?

Is it that obvious? 🙂

I love all of them for different reasons. First of all old synths like old furniture can be really stylish. While playing a synth physically without a computer being turned on I can escape a bit the every day chaos, enjoy the present and relax. I like the feeling knowing which music was created on a particular synth and that it connects me to those people and artists of that time. Currently my favourite synth is the Yamaha GX1, I don’t own it, but I have the luck to use it regularly for a project you’ll hear more about in November.

Photo by Fastfoodculture

The instrumental ‘Dark Waver’ does what it says in the title but are the melodic hints of ‘Oxygène IV’ accidental?

Haha, I am very proud of that title 😉

Jean-Michel Jarre is a legend and one of my top inspirations. I have watched and listened to ‘Oxygene – Live in Your Living Room’ many times before sleeping, but it was not my intention to put the melo in there. I already had the bass and chords and was jamming on it with different sounds. Somehow I played these notes on it and when I heard them I knew, yes why should there not be a little quote of Jarre in my music, as his music influences my approach to music.

What is your favourite moment or memory in the making of the ‘Spacewoman’ EP?

As with every new track, I love the moment of a harmony or a sequence that makes you excited and imagine what the outcome could be. That little gimmick melody in ‘In The Night’ made me happy. Also with every finished track you learn something new. There was a moment during the EP, I felt I am suddenly understanding a little bit more from production, and was shocked how little I knew at the same time and how much more there is to discover.

Who do you think the EP will appeal to and what are your hopes for it?

Probably it will appeal mostly to the Italo world and people that have been enjoying my live shows. I hope it will make people feel, dance, smile, forget and let go. I hope they hear freshness and familiarity at the same time.

Photo by Jovan Mrowiński

Will you do more EPs? Will an album be a possibility or is that now an outdated format?

Absolutely… I wouldn’t say it’s outdated and everything is possible.

What is next for you?

I have of course more music music music incoming!


ELECTRICITYCLUB.CO.UK gives its grateful thanks to CHARLIE

Special thanks to Gabi Stanowska at Eclectica

‘Spacewoman’ is released by Wrong Era / Slow Motion as a 12″ vinyl EP from selected retailers, also available digitally from https://wrongera.lnk.to/Spacewoman

https://www.facebook.com/profile.php?id=61557049403213

https://www.instagram.com/charlieszum/

https://soundcloud.com/charlieszum

https://ra.co/dj/charlie

https://open.spotify.com/artist/3lJcC0aNyTGktyDdnu4Drf


Text and Interview by Chi Ming Lai
8th October 2024

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