Tag: Billy Mackenzie (Page 2 of 4)

PAUL STATHAM Interview

22 February 2018 / electricityclub

What do DEPECHE MODE, SOFT CELL, BLANCMANGE and THE THE have in common?

They all appeared on the ‘Some Bizzare Album’ which acted as a springboard for their fame and fortune.

But the silent success story of the ‘Some Bizzare Album’ has to be Paul Statham; while his band B-MOVIE with Steve Hovington, Rick Holliday and Graham Boffey were unable to achieve a foothold in the mainstream like The Big Four, the guitarist later found considerable success as a songwriter and producer.

Working with personalities as varied as Peter Murphy, Jim Kerr, Billy Mackenzie, Dido, Dot Allison, Sarah Nixey, Kylie Minogue, Lisa Scott-Lee, Tina Arena and Rachel Stevens, Statham’s credits also include groups such as THE SATURDAYS and RIGHT SAID FRED.

Statham was also a member of cult electropop trio PEACH with Pascal Gabriel and Lisa Lamb, whose song ‘On My Own’ from their only album ‘Audiopeach’ featured during a key scene in the Gwyneth Paltrow movie ‘Sliding Doors’.

Although B-MOVIE reformed in 2004, Statham has continued his songwriting and production career in parallel. More recently, there has also been his dark country project THE DARK FLOWERS, while he has also been releasing a series of ambient electronic albums, as well as establishing his own label Loki Records.

Paul Statham kindly took time out of his busy schedule to answer some questions about his career outside of B-MOVIE…

What has motivated you to start Loki Records in the current climate?

Well, exactly the words “current climate”! I did approach some leftfield labels, but the response time was tragic! Also as a long standing writer through Warner Chappell, there is always the thought that the song has to be commented on or is specifically ‘aimed’ at something , even going through an experimental label. So setting up my own label means I can go sit in the woods filming the moon all night, then decide that will be the video as it was for the track ‘Who Won’t Wait’! Of course who sees the video is then down to you endlessly trying to put links up!

After years of songwriting, how did this move towards more experimental music come about?

I have been involved in writing or creating pieces of instrumental music since 2002 through an art curator friend Victor De Circasia to run alongside writing more commercial music. My project THE DARK FLOWERS put a small element of experimental into traditional song using backdrops of wind or recorded atmosphere behind tracks, but my favourite album is Brian Eno’s ‘Another Green World’ and also I love reading about his compositional practice.

Your third ambient release is ‘Asylum’, how does this differ in concept from your first two releases of this type ‘Ephemeral’ and ‘Installation Music 1’ which were given away on Bandcamp?

I did plan to do it this way. The first two are unaltered pieces that were actually used in two installations, ‘Installation Music 1’ is very specific to a sculpture ‘Diving Woman’ by Sottish artist David Mach. ‘Asylum’ took some installation music from the Asylum Chapel in Peckham and simply used it as the starting point to create an album that was added to and experimented on over time.

What do you get out of this more experimental direction that you wouldn’t get from writing pop songs?

Total Freedom. A real journey from going out and exploring sounds in the outside world to developing artwork / films and setting out and letting the unfolding music direct where it heads to with no thought of who may like this. That’s why sometimes I’ll give them away for free!

Any thoughts about trying to compose hour long pieces like Brian Eno has done?

I already have a 28 minute piece that was used in an installation. It involved 28 pieces of thirty seconds long, starting with one then adding to it the next piece every 30 seconds to create a collage of found sound, then after 28 minutes it reverses. I will locate it and put it out for free on Bandcamp now you have reminded me! It was accompanied by painter Daisy Cook’s series of 28 small paintings of the Australian landscape but taken from the air. We made a film but I’ve since lost it!

The B-side to B-MOVIE’s ‘Marilyn Dreams’ was ‘Film Music Part 1’, what ever happened to Part 2 and is composing film music a direction you would like to head in?

That was written by Rick and I really like it! I think it was Rick, although Steve wrote most things back then! Film music is something I would love to do and would offer the music for free to any budding or low budget film in need!

After B-MOVIE first ended, you started to work with Peter Murphy in 1988 and continue to do so today, how would describe your creative dynamic?

Slow development! No, it’s completely different than my usual co-writing and has been long distance, with us rarely or actually ever sitting down in the same room and writing anything together. ‘Love Hysteria’ was me sitting in his attic with a four track and a few instruments, then leaving it with him. ‘Deep’ was similar but in a studio room, with Peter adding stuff once I’d put any sort of sketch down. After his move to Turkey, I would visit Ankara but again go into his studio room alone and sketch ideas, whilst he would then go in after me later at night and really shape them up. Since the internet, we simply share files. Some people find this dynamic difficult but after such a long time, I find it easy to send him anything I feel will intrigue.

Photo by Pete Walsh

In 1996, you formed PEACH who you described as “ABBA Meets THE KLF”? What inspired this?

Hahahaha! That was meeting Pascal Gabriel who produced the Murphy album ‘Cascade’. After the ‘Holy Smoke’ album, Peter dropped THE 100 MEN (band) and I went back to co-writing the whole album via sketches and lots of different styles, but with a more electronic feel.

We all went to Spain to record, Peter, Pascal and myself and it was fairly high pressure. On returning to London, I began to hang out with Pascal and he suggested that we form a very up dayglo electronic trio… very different to my Murphy work and at the time, it was something I definitely needed to do.

How did getting signed to Mute come about? It appeared to happen quite quickly…

We signed to Daniel Miller’s Mute label after playing him two demos in his office with no singer and Pascal sorting of humming vocal ideas. I really respect Daniel Miller and how he got what we were trying to do immediately and offered us a deal on the spot! I will always be grateful to Pascal as he gave me studio keys and access to all these incredible synths and recording gear and simply let me learn my way around it, whilst we simply began recording with no agenda, other than kicking electropop tunes!

While your first single ‘On My Own’ wasn’t a UK Top 40 hit, it attracted positive responses…

It was a hit in the States and reached No 11 on the radio charts and also was a pop Top 40 hit. It was No 1 in Canada, Israel and bizarrely Singapore where Lisa Lamb and myself headed out to play the city’s 33rd birthday celebrations…v v odd!

How did you feel when ‘On My Own’ featured in the film ‘Sliding Doors’?

I remember being very excited, especially meeting Gwyneth Paltrow at the aftershow of the London premiere. Also seeing your name come up at the end of the film credits was worth it!

‘From This Moment On’ is a timeless pop tune…

I wrote the majority of that alone, picturing a sort of ABBA / ACE OF BASS crossover with a different rhythmic feel than the rest of the more uptempo songs.

I started with the sequencer and then went back and wrote this long intro as I may have discovered a jazz chord or two from some book! Lyrically, I just liked the sound of the words / sentiment without it being particularly about anything! I don’t normally write lyrics, perhaps you can see why!

The eventual ‘Audiopeach’ album was one of the last recordings that the late Billy Mackenzie contributed to. His ad libs on ‘Deep Down Together’ are so unmistakable, how did you know him and what was he like to work with?

Billy Mackenzie was a friend of Pascal’s and I was a HUGE fan of ASSOCIATES. It was shortly before he committed suicide and he arrived very down to earth and humble with a few cans of beer. He simply opened his mouth and that voice exploded. I loved it so much, I owned a DAT tape of him simply singing his vocal line unaccompanied, it was so pure with such a range. He also sang on ’Give Me Tomorrow’, replacing the high sampled opera vocal. I have read ‘The Glamour Chase’ biography twice now and recently have started listening to him a lot.

By the time ‘Audiopeach’ came out in 1998, the momentum appeared to have stalled, what happened?

Basically we didn’t all get on. Lisa proved difficult at the time, while Pascal and her were complete ‘Polar Opposites’ in just about everything. I think Lisa herself will admit she found it difficult and although we had success, our vision of what PEACH should sound like / appear like were pulling in two very different directions. I was sad as I had left a long running collaboration with Murphy, found success with this pop / electronic vibe, signed to Mute and then walked away from it all.

Photo by Joe Dilworth

PEACH supported ERASURE in London but did not play live much, could this have been a contributory factor?

I loved playing live, especially after some amazing live shows around the world with Peter Murphy, who was and is a great frontman and thrived on chaos. Pascal wasn’t so much a live musician and Lisa just got more outrageous, so it wasn’t really a live show at all, just playing a few chords over a backing track. We played three shows with ERASURE in London and before that, two in Hamburg. The German shows were a real success and very enjoyable, but somehow we’d lost enthusiasm by the time we played London!

PEACH appeared to help kickstart your next phase as a pop writer with artists like Kylie Minogue, Rachel Stevens and Lisa Scott-Lee?

Yes, that was only due to the fact I signed via PEACH to Warner Chappell and became great friends with my A&R man Mike Sault who began getting us co-writes with other artists and also, the great work that Sandy Dworniak at TMT Management did as Pascal’s and my manager.

Some might say your best known song is ‘Here With Me’ which you did with Dido, how do you look back on it?

It was so good as Dido had no expectations on her and I loved her voice; as a person and collaborator, she was great fun and wrote quickly and strongly in terms of her lyrics / melodies. We wrote quite a lot of songs and I remember vividly writing ‘I’m No Angel’ with her in about two hours!

So how would you approach a song for a singer, as opposed to artists like Dido, Sarah Nixey or Dot Allison who are more involved in the composition side? Is there a brief from the label?

Yep, sort of. It’s always strange as they give you a reference video by another artist, then the artist plays you something different and the management tell you they want something off the wall and different, so I just try and write the most interesting music I can and see where it goes. It’s so hard to get these things right and you end up with literally hundreds of very very good songs, but then so does everyone else who co-writes with them. It’s frustrating going back and seeing a huge iTunes library with lots of songs that you feel could be hits if the artist / A&R / manager had chosen to go with the song you co-wrote!!

You also worked with Jim Kerr on ‘Return Of the King’, a tribute to Billy Mackenzie for his LOST BOY solo project and subsequently, ‘Kill Or Cure’ for SIMPLE MINDS, what was that like?

Fantastic! I saw SIMPLE MINDS four times in one year when I was a teenager and was a HUGE fan of the first four albums. Not so much ‘New Gold Dream’ onwards, but ‘Reel To Real Cacophony’ and ‘Empires & Dance’.

So writing with Jim Kerr in my small bedroom sized home studio was one of those moments you think if I could have told my 18 year old self that, he wouldn’t have believed me! Also we share a lot of great music references in Bowie, Bolan, Roxy and certain literary styles / books. Jim is a very optimistic and supportive friend, he encouraged THE DARK FLOWERS and we have written a lot of material that may or may not see the light of day!

So what’s happening with THE DARK FLOWERS, which has featured Jim Kerr, Peter Murphy and Dot Allison amongst others?

I have all the music… it’s like herding cats trying to get a song or two from each person as they are all involved constantly in their own work. However I’m getting excited about the second album as its shaping up well… darker in tone than the first (deliberately) and featuring David J as well. Lloyd Cole was interested and started a track, but as of yet???!!!!

In all, are you quite happy with how your music career has turned out in its various guises?

I’m very happy… more so than ever. I re-signed to Warner Chappell in January and balance my week with running a course at BIMM in London once a week and heading up the songwriting workshops at Solent University (sixth year now) once a week too. This leaves me plenty of time to work on my own stuff and collaborate with long standing friends / artists

What’s next for you in whatever guise?

– THE DARK FLOWERS 2
– The continued release of experimental music via Loki Records
– AFTER THE RAIN (my new sample / DJ Shadow style project)
– New B-MOVIE album
– New Peter Murphy collaborations
– A new KRAFTWERK / vaporwave project with film composer Magnus Fiennes out in LA
– And continued co-writing via Warner Chappell’s, particularly with electro R‘n’B singer Billie Black.

ELECTRICITYCLUB.CO.UK gives its grateful thanks to Paul Statham

‘Asylum’ is released on CD by Loki Records, available from https://www.lokirecords.com/shop

http://paulstathammusic.com

https://www.facebook.com/paulstathammusic/

https://paulstatham.bandcamp.com/

http://www.inspiracy.com/peach/

https://www.lojinx.com/artists/the-dark-flowers

https://www.facebook.com/theflowersdark/

Text and Interview by Chi Ming Lai
22nd February 2018

A Beginner’s Guide To MARTIN RUSHENT

12 February 2018 / electricityclub

Photo by Simon Fowler

Although he became a noted producer during the height of punk, it was with THE HUMAN LEAGUE’s ‘Dare’ that Martin Rushent’s reputation as an electronic music pioneer was forged.

Rushent began his studio career as a projectionist where orchestras would synchronise with motion picture images, before eventually cutting his teeth as an engineer for acts as varied as Shirley Bassey and T-REX, working with their respective producers Johnny Harris and Tony Visconti.

His first major production was for CURVED AIR on their ‘Air Cut’ album. Engineered by Paul Hardiman who was later to produce THE THE and LLOYD COLE & THE COMMOTIONS, it also featured Jim Russell on drums who became later became one of Rushent’s engineers and joined THE HUMAN LEAGUE for their ‘Crash’ tour.

He then secured a lucrative role working for United Artists, the company famously founded by Charlie Chaplin, Douglas Fairbanks Junior, Mary Pickford and DW Griffith, as an in-house producer with A&R responsibilities.

It was in this position that he found major success working with THE STRANGLERS on ‘(Get A) Grip (On Yourself)’, ‘Peaches’ and ‘No More Heroes’ as well as BUZZCOCKS on ‘Evere Fallen In Love’ and ‘Promises’. Meanwhile his freelance clause allowed him to also produce bands like GENERATION X, 999 and THE REZILLOS whose guitarist Jo Callis was later to join THE HUMAN LEAGUE.

It was in 1978 at the height of his punk success that Radar Records, an offshoot of Warners who had Elvis Costello and Nick Lowe on their roster, offered Rushent an opportunity to start his own label and production company. Radar had been founded by the team that had hired Rushent for United Artists and the offer included funding to build what was to become his Genetic Sound Studios complex at his home in Reading.

With his new office based above The Blitz Club and a desire to move away from guitar bands, Rushent became fascinated by the New Romantic movement and its electronic soundtrack provided by their resident DJ Rusty Egan. Egan had started a project with Midge Ure named VISAGE fronted by the now sadly departed Steve Strange. Their demos had been offered to EMI but were turned down…

“Martin Rushent turned punk into pop with THE STRANGLERS and BUZZCOCKS and was the hottest punk producer in 1977-78. He had no idea about synths, he was a rock producer but knew ULTRAVOX, MAGAZINE and RICH KIDS were disbanded.” Rusty Egan told ELECTRICITYCLUB.CO.UK, “But his musical hunch was ‘they must come up with something’”.

Sensing that something was in the air, Rushent invited VISAGE to use his studio to see what they came up with. These sessions, which also featured ULTRAVOX’s Billy Currie plus MAGAZINE’s Dave Formula, the late John McGeoch and Barry Adamson, intrigued Rushent. “We came with our equipment and no drum kit” recalled Egan about that visit to Genetic Sound Studios which was still being built.

“I had the CR78 and the Simmons SDS3 prototype which Richard Burgess gave us; Midge had a Yamaha CS50, Billy had an RMI Electra Piano, Elka Rhapsody 610 and the ARP Odyssey while Dave brought his Yamaha CP30, ARP Odyssey and Yamaha string machine. We ran sequenced drums and layered, we had SMPTE timecode as MIDI did not come in for years, so we triggered and I hit drum pads and we created the sounds… Martin had never seen this type of recording”.

Despite the promising material coming from VISAGE, Warners pulled the plug on Radar and immediate plans for Genetic Records became stillborn. In hindsight, this move was extremely short sighted on Warners part as it was rumoured Rushent had been in discussions with JOY DIVISION, ULTRAVOX and SPANDAU BALLET.

Despite this set back, this experience helped Rushent realise that music production moving towards being more computer-driven, so he bought a Roland MC8 Micro-composer along with a Roland System 700 and Jupiter 4.

A strong advocate of clarity in instrument voicing and as a former drummer, how drum sounds were achieved, the availability of the Linn LM1 Drum Computer in 1981 was the final piece in the jigsaw and the set-up helped Rushent realise his vision. The rest as they say, is history and THE HUMAN LEAGUE scored a No1 with ‘Don’t You Want Me?’ on both sides of the Atlantic…

Rushent won the 1982 Brit Award for best producer and went on to produce THE GO-GO’S third album ‘Talk Show’ released in 1984. However, while recording the follow-up to ‘Dare’, a breakdown in his personal life, coupled to deteriorating relations with THE HUMAN LEAGUE led to Rushent leaving the sessions and walking out of his own studio! The eventual ‘Hysteria’ album was lukewarm, audibly missing Rushent’s touch.

Following his divorce, Rushent was forced to sell Genetic Sound Studios to avoid bankruptcy. Despite reducing his workload to more occasional studio recordings with ASSOCIATES, HARD CORPS, THEN JERICO and TWO PEOPLE, Rushent was suffering from depression; realising his heart was no longer in music, he effectively retired from the industry.

Taking time out to raise his family as a single parent, he eventually made a steady return to full album productions with Hazel O’Connor in 2005 and THE PIPETTES in 2010. Buoyed by the huge developments in computer technology, he even presented his own DISCO UNLIMITED project with a track called ‘Itchy Hips’ inspired by his daughter Amy, as well as working with his son James’ band DOES IT OFFEND YOU, YEAH? But just as momentum was returning to his music career, Rushent sadly passed away in June 2011, aged 62.

Remembering working with Martin Rushent, Clive Pierce of HARD CORPS said: “Personally I felt overwhelmed when in the studio with him as it did feel at times that your precious baby was being bounced around in a manner you would never dream of doing yourself. His deft production work magnified what we were attempting to do ourselves and that’s exactly what great producers do”.

THE PIPETTES’ Ani Saunders who now makes music as ANI GLASS and recently tweeted a photo of project notes from recording with Rushent as she prepared to record her first solo album added: “One of the greatest lessons I learnt from Martin was to only spend your time working on music you believe in and not to be afraid to change / amend / cut parts or songs if they’re not good enough. Of course the production and engineering skills I gained working with him were invaluable but I also learnt about how to create the right atmosphere for and during recording, something which I think is often overlooked. When I’m writing pop songs I always ask myself ‘what would Martin do?’ – it helps to keep me in check”.

Focussing primarily on his work with synthesizers and technology, here is a look back at the post-punk career of Martin Rushent. With a limit of one track per album project and presented in chronological order, here is a Beginner’s Guide to the late, great man…

THE STRANGLERS Nice N Sleazy (1978)

Making his fortune producing the key tracks of THE STRANGLERS’ career such as ‘(Get A) Grip (On Yourself)’, ‘Peaches’ and ‘No More Heroes’, the mutant punk reggae of ‘Nice N Sleazy’ saw a diversion into synthesizers with Dave Greenfield’s spacey blast of swirling Minimoog during the instrumental break. At Battersea Park in September 1978, the band courted controversy when accompanied by strippers for the song’s visual embellishment!

Available on THE STRANGLERS album ‘The Very Best Of’ via EMI Records

http://www.thestranglers.net

JOY DIVISION Ice Age (1979 – Released 1997)

Recorded in March 1979, JOY DIVISION spent a day at Eden Studios in London with Martin Rushent recording a 5 track demo with the view to signing to his Genetic Records label. The tracks included ‘Transmission’, ‘Insight’ and ‘Ice Age’, But afterwards, the band made the decision to go with Factory Records and headed to Strawberry Studios in Manchester to record their debut long player ’Unknown Pleasures’ with Martin Hannett. However, Rushent always reckoned his version of ‘Ice Age’ was better than the speedier version that ended upon the posthumous ‘Still’ double album collection in 1981.

Available on the JOY DIVISION boxed set ‘Heart & Soul’ via Rhino Records

http://joydivisionofficial.com

VISAGE Tar (1979)

At Genetic Sound Studios, VISAGE started recording an album. Rusty Egan recalled: “we agreed to use the studio for a weekend with Martin engineering”; the first track from those sessions was ‘Tar’, a cautionary tale about the dangers of smoking. After numerous contractual issues, it was finally released as a single on Genetic Records but within days, Warners closed down his funding source at Radar Records.

Available on VISAGE album ‘Visage’ via Polydor Records

http://www.visage.cc/

PETE SHELLEY Homosapien (1981)

‘Homosapien’ came about after sessions were aborted for BUZZCOCKS fourth album. Rushent and frontman Pete Shelley worked on new material using the Roland MC8 Micro-composer and System 700. Now seen as Shelley’s coming out song, a cacophony of synths and 12 string guitar combined for a wonderful futuristic snarl. However, the lyric “Homo Superior in my interior” got it a BBC Radio1 ban.

Available on the PETE SHELLEY album ‘Homosapien’ via Active Distribution Ltd

http://www.buzzcocks.com/_peteshelley/peteshelley.html

THE HUMAN LEAGUE The Sound Of The Crowd (1981)

When presented with the demo of ‘The Sound Of The Crowd’, Rushent’s response was “Well, that’s going in the bin”… Phil Oakey objected but the producer snarled back: “You came to me, so I assume that’s because you want hits?”… triggering bursts of System 700 white noise from the Micro-composer for the rhythm track, the combination of obscure lyrics from Ian Burden like “Stroke a pocket with a print of a laughing sound” and a screaming chant gave THE HUMAN LEAGUE their breakthrough hit.

Available on THE HUMAN LEAGUE album ‘Greatest Hits’ via Virgin Records

http://www.thehumanleague.co.uk

ALTERED IMAGES Happy Birthday (1981)

While Steve Severin from SIOUXSIE & THE BANSHEES produced the majority of the ‘Happy Birthday’, the job of turning the title track into the Glaswegian quintet’s breakthrough hit fell to Rushent. Tight ‘n’ bright thanks to Rushent’s modern production and Glare Grogan’s helium fuelled cutesy vocals and nursery rhyme lyrics, the song was denied the No1 spot for 3 weeks by a synth cover of ‘It’s My Party’ and later on, the might of THE POLICE.

Available on ALTERED IMAGES album ‘Happy Birthday: The Best Of’ via Music Club

https://www.facebook.com/ClareGrogansAlteredImages/

ALTERED IMAGES I Could Be Happy (1981)

Combining the precision of programmed technology with live instrumentation, ‘I Could Be Happy’ was one of Rushent’s best productions. Despite being shrouded in melancholy, it was catchy and danceable enough to be a UK Top 10 hit. Rushent produced the parent album ‘Pinky Blue’ but it was given a lukewarm reception, ultimately causing the original line-up of ALTERED IMAGES to implode.

Available on ALTERED IMAGES boxed set ‘The Epic Years’ via Cherry Red

https://twitter.com/claregrogan2

LEISURE PROCESS Love Cascade (1982)

Featuring Ross Middleton and Gary Barnacle with production by Rushent, ‘Love Cascade’ was the missing link between Pete Shelley and THE HUMAN LEAGUE. The vocals were virtually unintelligible as the clattering Linn Drum, pulsing synths, squawky guitar and sax merge together for a cool dancefloor friendly tune that’s full of the decadent spirit of the times. Barnacle went on to become one of the top session saxophonists.

12 inch version available on the album ‘Retro: Active 5’ (V/A) via Hi-Bias Records Canada

http://www.discogs.com/artist/Leisure+Process

THE LEAGUE UNLIMITED ORCHESTRA Do Or Die (1982)

“The most creative experience I’ve ever had in my life” was how Rushent described the tracks from ‘Dare’ specially remixed and re-edited by him. Pre-sampling, the material was remixed from the mixing board using a multitude of effects with vocal stutters created by cutting up and splicing portions of tape with the aid of his custom-made ruler. The percussive dub laden barrage of ‘Do Or Die’ was one of the highlights.

Available on THE LEAGUE UNLIMITED ORCHESTRA album ‘Love & Dancing’ via Virgin Records

http://www.muzines.co.uk/articles/human-league-in-the-studio/4246

THE HUMAN LEAGUE Fascination (1983)

Tensions were running high with creative differences during the recording sessions for THE HUMAN LEAGUE’s follow-up to ‘Dare’, with Rushent losing enthusiasm due to conflicts in the studio with Phil Oakey and in particular, Susanne Sulley. The weirdly catchy ‘Fascination’ was the last track to be recorded with Rushent, but he departed before it was mixed. The eventual ‘Hysteria’ album was lukewarm, audibly missing Rushent’s touch.

Extended version available on THE HUMAN LEAGUE album ‘A Very British Synthesizer Group’ via Virgin Records

https://www.facebook.com/thehumanleague/

PETE SHELLEY Telephone Operator (1983)

With Shelley and Rushent developing on ‘Homosapien’ with a more fierce sound, ‘Telephone Operator’ could be seen an extension lyrically to the themes of its predecessor. The original parent album ‘XL-1’ had a novel bonus track in a computer program for the Sinclair ZX Spectrum which printed lyrics in time with the music and displayed graphics with a locking groove before the code so that its bleeps and squeaks could not be played accidentally.

Available on PETE SHELLEY album ‘XL-1’ by Active Distribution Ltd

https://www.discogs.com/artist/28754-Pete-Shelley

HAZEL O’CONNOR Don’t Touch Me (1984)

When endorsing Korg’s PSS-50 Programmable Super Section, Rushent was enthusing about a record which “apart from voice” was “all written and performed on one synth” – that album was HAzel O’Connor’s ‘Smile’. From it, the moody single ‘Don’t Touch Me’ was very art school Weimar Cabaret with some very passionate vocals from O’Connor, constructed around a Synclavier with its distinct period bass and brass sounds.

Available on HAZEL O’CONNOR album ‘Smile’ via Cherry Red

http://www.hazeloconnor.com

ASSOCIATES Breakfast (1985)

Rushent worked with Billy Mackenzie on five tracks for ‘Perhaps’, the much anticipated recorded return of ASSOCIATES. ‘Waiting For The Love Boat’ was one of those songs, but the recording which stood out was the epic string laden drama of ’Breakfast’. It is possibly Mackenzie’s greatest single moment, the melancholic piano motif setting the scene for an entire film noir in five minutes with its widescreen dramatics and mournful tension.

Available on ASSOCIATES album ‘Singles’ via WEA

http://www.billymackenzie.com

HARD CORPS ‎Je Suis Passée (1985)

Clive Pierce said: “HARD CORPS, having traditionally self-produced tracks at our resident studio in Brixton relished the prospect of working with Martin on ‘Je Suis Passée’ having been admirers of his work on ‘Love & Dancing’. It was difficult but never the less a total education. That’s the trouble being so close to something it’s difficult to let go. In retrospect I now listen to ’Je Suis Passée’ in awe of what he achieved. The baby was fine”.

Originally released as a single by Polydor Records, version available on the album ‘Clean Tables Have To Be Burnt’ via Minimal Wave Records

https://www.facebook.com/hard-CORPS-217860235015406/

THEN JERICO The Big Sweep (1985)

Pop rockers THEN JERICO were fronted by the handsome if volatile Mark Shaw; their debut single ‘The Big Sweep’ was recorded with Rushent and some help from his new Synclavier. However, due to the track’s anti-tabloid lyrical subject matter, the band’s label London Records initially declined to release the track. So it was self-released as a 1000 limited edition, although the track eventually resurfaced in its club mix on the 12 inch of ‘Muscle Deep’ in 1987.

Available on the THEN JERICO album ‘The Best Of’ via London Records

http://www.thenjerico.com

THE HUMAN LEAGUE Heart Like A Wheel (1990)

Jo Callis told ELECTRICITYCLUB.CO.UK: “With ‘Heart Like A Wheel’, when The League came to thinking about the follow up to ‘Crash’ (which would become ‘Romantic?’), I thought there might be a good opportunity to try and get ‘the old team’ back together again, which I did manage to achieve for a couple of tunes at least”. With Rushent at the helm again, the result was a tune that recalled the classic pop era of THE HUMAN LEAGUE.

Available on THE HUMAN LEAGUE album ‘The Very Best Of’ via Virgin Records

http://jocallis.com

GRAFTON PRIMARY Relativity – Martin Rushent remix (2008)

Australian electro-noir duo GRAFTON PRIMARY balanced in the divide between art and science on their debut single ‘Relativity’. Benjamin and Joshua Garden utilised sharp synthpop hooks and solid basslines in a classic Synth Britannia vein manner not dissimilar to THE HUMAN LEAGUE, which naturally made them perfect for a remix by Martin Rushent; three of his mixes were included on the ‘Relativity – Reinvented’ collection.

Available on GRAFTON PRIMARY single ‘Relativity – Reinvented’ via Resolution Music ‎

https://www.facebook.com/graftonprimarymusic/

THE PIPETTES Our Love Was Saved By Spacemen (2010)

From Rushent’s final album production, ‘Our Love Was Saved By Spacemen’ was a celestial Latin flavoured pop tune by the MkII variant of THE PIPETTES, fronted by sisters Gwenno and Ani Saunders. The partnership was to prove inspirational with Gwenno’s next solo long player ‘Y Dydd Olaf’ being one of the best albums of 2014, while Ani recently tweeted a photo of project notes from recording with Rushent as she recorded her first solo album.

Available on THE PIPETTES album ‘Earth Vs The Pipettes’ via Fortuna Pop

https://www.facebook.com/thepipettes/

In memory of Martin Rushent 1948-2011

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Rusty Egan, Clive Pierce, Ani Saunders and Jo Callis

A Facebook tribute group to Martin Rushent run by his son Tim can be viewed at
https://www.facebook.com/groups/216490505038835/

Text by Chi Ming Lai
12th February 2018

A Beginner’s Guide To JORI HULKKONEN

26 August 2017 / electricityclub

Jori Hulkkonen is one of Europe’s most highly regarded electronic producers, yet remains something of a hidden secret.

While a fan of synthesized music such as PET SHOP BOYS, NEW ORDER and John Foxx, Hulkkonen’s love of Detroit techno and house music has brought a rhythmical edge to his many productions and remixes. Hulkkonen released his first album ‘Selkäsaari Tracks’ in 1996, but he first came to the world’s wider attention as ZYNTHERIUS with TIGA on their 2001 electro cover of ‘Sunglasses At Night’.

As well as solo long players such as 2010’s acclaimed ‘Man From Earth’ and collaborative projects like KEBACID, STOP MODERNISTS, PROCESSORY, SIN COS TAN and THE TANIA & JORI CONTINENTS, he has DJ-ed around the world, presented his own radio shows and remixed artists as diverse as Robyn, Kid Cudi and Joe Jackson.

Born in the small town of Kemi, he had The Cold War, the Inari missile-incident and the Tschernobyl disaster right next door, but Hulkkonen found his aesthetics for escapism from the ever-so-imminent nuclear war in electronic music.

Based in Turku on the southwest coast of Finland, Hulkkonen recently downsized the amount of hardware in his AlppIVhouz Studios, although he still retains a Korg PS3100, Emulator II, Roland Jupiter 4, Roland SH101, Roland TR808, Roland TB303, Siel Orchestra and the ubiquitous Eurorack Modular system.

Always up for the odd spot of artistic mischief, he assembled THE ACID SYMPHONY ORCHESTRA, an experimental avant-garde techno ensemble of nine fellow conspirators each controlling a Roland TB-303, conducted and mixed by Hulkkonen; the collective famously supported KRAFTWERK on their Helsinki date in 2009.

More recently, Hulkkonen has teamed up with fellow Finn Jimi Tenor for a touring presentation of their silent art movie ‘Nuntius’. Starring Mr Normall as its central alien character, it features a live improvised soundtrack ranging from blippy ambient to frantic motorik; none of the music is to be released. So with each performance being unique, ‘Nuntius’ provides a cerebral audio / visual experience for who are able to witness it.

With such a varied catalogue of work and projects, ELECTRICITYCLUB.CO.UK looks back at the career of Jori Hulkkonen in the shape of this eighteen track Beginner’s Guide, arranged in chronological order and with a restriction of one track per album / project…

TIGA & ZYNTHERIUS Sunglasses At Night (2001)

This Corey Hart cover was adopted by the Electroclash movement and came about when Hulkkonen was in Montreal promoting his ‘Helsinki Mix Sessions’ CD released on TIGA’s Turbo label. “The synthline just felt very cool to use with the 808 beat” he said, “I’m glad I used a pseudonym for that release as even though I loved a lot of the music that was around and connected with Electroclash, the whole scene felt a bit distant to me.”

Available on the TIGA & ZYNTHERIUS single ‘Sunglasses At Night’ via City Rockers / International Deejay Gigolo Records

http://tiga.ca/

JORI HULKKONEN featuring JOHN FOXX Dislocated (2005)

“’Metamatic’ is one of my all-time favourite albums” said Hulkkonen, “and for me it was a fantastic opportunity to get a chance to work with one of the people who had shaped my musical world. ‘Dislocated’ was written by me, with John and the sound of ‘Metamatic’ in mind”. It sounded like what the title suggested and the pair worked together again in more collaborative manner in 2008 on ‘Never Been Here Before’; it wouldn’t be for the final time either…

Available on the JORI HULKKONEN album ‘Dualizm’ via F Recordings

http://www.metamatic.com/

TIGA High School (2006)

Work had actually begun on a TIGA & ZYNTHERIUS album, but the pair both felt that keeping the project as a one hit wonder was a much cooler alternative. However, several songs from those recording sessions ended up on their various solo albums, with ‘Dying In Beauty’ appearing on Hulkkonen’s ‘Dualizm’, while ‘High School’ with its hypnotic synth sequence and latent machine groove found a home on Tiga’s debut long player ‘Sexor’.

Available on the TIGA album ‘Sexor’ via PIAS

https://twitter.com/tiga

JORI HULKKONEN featuring JUSTINE ELECTRA Errare Machinale Est (2008)

2008 could be considered Hulkkonen’s Down Under phase and for the title track of his sixth solo record, he recruited Electra, a Melbourne-based singer / songwriter / musician / DJ to add her wispy nonchalant voice to this expansive mood piece with an extended ambient intro. The track utilised grainy Emulator II strings in an aesthetic that was to become one of his trademarks. The album also featured a tune fittingly titled ‘Forgive Me Father For I Have Synth’.

Available on the JORI HULKKONEN album ‘Errare Machinale Est’ via Solina Records

https://www.facebook.com/JustineElectraOfficial/

THE PRESETS This Boy’s In Love – Jori Hulkkonen Remix (2008)

Australian duo Julian Hamilton and Kim Moyes made their international breakthrough with ‘This Boy’s In Love’, an uptempo ASSOCIATES flavoured highlight from their second album ‘Apocalypso’. Hulkkonen stretched out the track out for almost ten minutes in a beat laden squelch fest and described it as: “a 10 out of 10 remix on my standards. It’s difficult to say why but somehow everything just clicked when I was making it and it still sounds fresh”.

Available on THE PRESETS single ‘This Boy’s In Love’ via Modular Recordings

https://www.facebook.com/thepresets/

CLIENT Can You Feel – Jori Hulkkonen Remix (2009)

Co-written with one-time KILLING JOKE bassist Martin Glover aka Youth, Hulkkonen’s remix adopted a deep framework and applied a pulsing club friendly vibe to the dark cool of Client A and Client B’s Cold War Chic, while “dancing on a ticking bomb”. Growing up in Finland during that era with The Bear next door looming would have had a profound effect on Hulkkonen in shaping his soundscapes.

Available on the CLIENT album ‘Command’ via Out Of Line

https://www.facebook.com/ClientMusic/

TIGA Sex O’Clock (2009)

Like its predecessor, TIGA’s ‘Ciao’ was mostly co-produced by Belgian brothers SOULWAX, although James Murphy of LCD SOUNDSYSTEM gave a helping hand on another track originally intended for TIGA & ZYNTHERIUS. Hedonistic and sweaty like a clubby Marc Almond, Tiga however could never quite escape the DJ tag to establish himself a fully-fledged artist in his own right. Indeed, he once congratulated LADYTRON “for escaping Electroclash”.

Available on the TIGA album ‘Ciao!’ via PIAS

https://www.facebook.com/officialtiga/

JOHN FOXX & LOUIS GORDON Neuro Video – Jori Hulkkonen Remix (2010)

‘Neuro Video’ came out of Foxx and Gordon’s ‘From Trash’ recording sessions and reflected Foxx’s known love of old science-fiction B-Movies which had influenced much of earlier solo work. For his remix, Hulkkonen stripped the track down and made it less percussively frantic, procuring a spacious groove for the bubbling electronics to work within. This remix and another of ‘Impossible’ were originally made available as a free download via Foxx’s Metamatic web platform.

Available on the JOHN FOXX & LOUIS GORDON album ‘Sideways’ via Metamatic Records

https://www.facebook.com/johnfoxxmetamatic/

VILLA NAH Ways To Be (2010)

Hailing from East Helsinki, Juho Paalosmaa and Tomi Hyyppä’s superb debut album ‘Origin’ was co-produced by Hulkkonen. He said at the time: “The guys had written a lot of songs in the previous couple of years, so someone outside their songwriting duo having a fresh pair of ears was crucial in picking a group of songs that would make a good album… They have a lot going on for them though; great songwriting, a very good debut album to build on and definitely not least, Juho’s magical voice”.

Available on the VILLA NAH album ‘Origin’ via Keys Of Life

https://www.facebook.com/villanah/

PROCESSORY Take Me To Your Leader (2011)

“We were both going through on a very deep phase with THE SMITHS” said Hulkkonen of ‘Lo-Fiction’, his first collaboration with reclusive vocalist Jerry Valuri in 2005. With their ambitious joint project PROCESSORY, the aim was “to create its own little universe” with various space travel themed concepts. With a lo-fi anguished gothique, ‘Take Me To Your Leader’ concocted some very introspective moods at The Finland Station… however, nothing has been proved.

Available on the PROCESSORY album ‘Change Is Gradual’ via Sugarcane Recordings

https://www.facebook.com/Processory/

STOP MODERNISTS feat CHRIS LOWE Subculture (2011)

A cover of the lost NEW ORDER single from 1985, Hulkkonen remembered: “The idea was to take what me and STOP MODERNISTS partner Alex Nieminen felt was an underrated song, make a late 80s deep house interpretation and bring some extra twist with having Chris on the vocals. It’s very hard – impossible, actually – to explain how important this record is to me. PET SHOP BOYS have been the most important musical influence for me”.

Available on the STOP MODERNISTS single ‘Subculture’ via Keys Of Life

https://www.facebook.com/stopmodernists

SIN COS TAN Trust (2012)

When VILLA NAH went on hiatus, Hulkkonen and Paalosmaa formed SIN COS TAN. Explaining the difference, Paalosmaa said: ”With VILLA NAH, I’ve been solely responsible for the songwriting, so I knew that would be different with SIN COS TAN. With Jori, we both bring our ideas to the table”. Very nocturnal in tone, ‘Trust’ was a superb 21st Century answer to ‘Enjoy The Silence’, described by Hulkkonen as “Disco You Can Cry To”. Indeed, like that iconic tune, ‘Trust’ had been written as a ballad.

Available on the SIN COS TAN album ‘Sin Cos Tan’ via Solina Records

http://solinarecords.com/sincostan/

BILLY MACKENZIE Boltimoore – Original JiiHoo Bootmix (2012)

The magnificent voice of Billy Mackenzie from his stark cover of Randy Newman’s ‘Baltimore’ was flown into a hypnotic tech house bootleg constructed by Hulkkonen. With deliberate incorrect spelling of our hero’s name to mask its illegal nature, it was a haunting ghostly return from the heavens to the dancefloor. Mackenzie would have loved it and had he been alive today, he would have almost certainly been working with Hulkkonen; what magic that would have been…

Available on the 12” vinyl release ‘Boltimoore’ via Kojak Giant Sounds

http://www.billymackenzie.com/

JOHN FOXX & JORI HULKKONEN Evangeline (2013)

Despite their collaborations, Foxx and Hulkkonen had never worked together on a body of work with a conceptual theme, but the opportunity came with the ‘European Splendour’ EP. Using the grainier downtempo template of PROCESSORY, ‘Evangeline’ was full of depth. Coupled with an anthemic chorus and vibrant exchange of character throughout, this rousing yet soothingly futuristic number was quite otherworldly.

Available on the JOHN FOXX & JORI HULKKONEN EP ‘European Splendour’ via Sugarcane Recordings

https://twitter.com/jorihulkkonen

SIN COS TAN featuring CASEY SPOONER Avant Garde (2013)

Hulkkonen first found fame during the Electroclash era and a noted personality from that scene made an appearance on the second SIN COS TAN album ‘Afterlife’. ‘Avant Garde’ featured Casey Spooner who provided a suitably cynical snarl to contrast Paalosmaa’s lost boy cry on a track that sounded like THE CURE being produced by PET SHOP BOYS. Paalosmaa was particularly thrilled, saying “I’ve been a big FISCHERSPOONER fan since their debut in 2001, so it was a very cool honour”.

Available on the SIN COS TAN album ‘Afterlife’ via Solina Records

https://www.facebook.com/homeofsincostan/

JORI HULKKONEN Italian Love Affair (2015)

A brilliant slice of uptempo electronic pop with more than just a hint of Giorgio Moroder and NEW ORDER, ‘Italian Love Affair’ was Italo Disco laced with a soaring vocal and a fabulous neon lit groove. Despite having shied away from singing throughout the majority of his career, Hulkkonen took on vocals himself on this highlight from his ninth solo album, with the end result sounding not unlike a cross between Jerry Valuri and Juho Paalosmaa.

Available on the JORI HULKKONEN album ‘Oh But I Am’ via My Favorite Robot Records

https://www.facebook.com/JoriHulkkonen/

FEELS If You’d Meet Me Tonight – Jori Hulkkonen Remix (2016)

FEELS are a Helsinki based indietronica band comprising of Sofi Meronen, Mikael Myrskog and Jooel Jons; when Hulkkonen saw them band play live in Turku, he became a fan and asked if he could work on their material. Speeded up considerably and pracatically changing the entire character of the song, his remix of ‘If You’d Meet Me Tonight’ was highly danceable, but still retained the trio’s glorious Nordic melancholy for some more of that “Disco You Can Cry To”.

Available as a free download via https://soundcloud.com/feelsfeels/if-youd-meet-me-tonight-jori-hulkkonen-remix

http://www.feelsfeels.com/

VILLA NAH Stranger (2016)

VILLA NAH unexpectedly returned after six years and Hulkkonen was there to assist again as co-producer. Of the magnificent track with which they returned, Paalosmaa said: “‘Stranger’ is a play on words; how somebody you’ve known can turn stranger over the span of time… and end up as a complete stranger in the process”. This was classic crystalline synthpop with a modern twist at its best, in a fine juxtaposition of swirling arpeggios and melodic tension.

Available on the VILLA NAH album ‘Ultima’ via Solina Records

https://twitter.com/villanah

JORI HULKKONEN Tintån Terdel (2017)

Hulkkonen has released several EPs and singles over the last couple of years in the build-up to a new long player, while a new single ‘Don’t Believe In Happiness’ is set to be unleashed. A cinematic synth wave instrumental with a dripping percussive template, ‘Tintån Terdel’ signals a possible future in film work. It’s an avenue already being explored by himself and Jimi Tenor in a live context via the unique presentations of their silent Sci-Fi movie ‘Nuntius’.

Available on the JORI HULKKONEN EP ‘I Am The Night’ / ‘Tintån Terdel’ via My Favorite Robot Records

https://soundcloud.com/theofficialjorihulkkonen/

Text by Chi Ming Lai with thanks to Tapio Normall
26th August 2017

PAUL HAIG Interview

14 September 2016 / electricityclub

Photo by Sheila Rock

While Paul Haig has a cult following within the post-punk cognoscenti, he has often been overlooked in wider music circles.

But between 1982 to 1985, he produced some of the best electronic pop singles of the period. Haig had been the lead singer of JOSEF K, a guitar band with a frenetic pace who were to influence acts such as THE WEDDING PRESENT and FRANZ FERDINAND.

PROPAGANDA covered JOSEF K’s best known song ‘Sorry For Laughing’ for their acclaimed album ‘A Secret Wish’. Inspired by acts such as NEW ORDER and HEAVEN 17, he headed towards a danceable electronic template and worked with a variety of key figures such as Bernard Sumner, Alan Rankine, Billy MacKenzie, Alex Sadkin and Bernie Worrell.

But in the interim period, free from the shackles of a conventional band format, Haig produced material that ranged from jazz to indie pop to experimental electronica. These early tracks have been gathered on ‘Metamorphosis’, an archive 2CD collection released by Les Disques du Crépuscule.

‘Metamorphosis’ bridges the gap from when Haig left JOSEF K to signing to Island Records as a solo artist and releasing his debut album ‘Rhythm Of Life’. Paul Haig chatted about his varied career.

‘Metamorphosis’ documents an interesting period in your early solo career covering a range of styles, how do you look back on it?

It’s a very long time ago! I’ve always had eclectic tastes in music so I think it was a time when I could experiment freely without the constraints of being in a band for the first time. It was exciting to try out new ideas.

How were the tracks selected for this release, or was it quite obvious which ones were going to be included?

It was James Nice at Crepuscule who selected most of the tracks, then sent me a list. We more or less agreed on most of the tracks he chose.

You made a statement of intent after JOSEF K by using a drum machine on your first solo recordings ’Chance’, ‘Running Away’ and ‘Time’?

I had been interested in beats and drum machines for a while and even used to record simple rhythms of the keyboards in the music shop where I worked for a year. I’d take the cassette tape home and play stuff along with the rhythms onto another cassette recorder. I progressed onto a DR Rhythm type box after that but when the Roland TR-808 machine came out, I had to get one. It was perfect for the way I was working at the time and enabled me for the first time to program more or less exactly the beats I needed.

What had motivated you to take on a more electronic template? Were there any particular bands that influenced you?

For some reason I was attracted to electronic sound and noise. Possibly seeing KRAFTWERK at a very early and impressionable age on the ‘Tomorrow’s World’ TV show influenced me somewhat. I liked ‘Warm Leatherette’ by THE NORMAL and listened to THROBBING GRISTLE ‘20 Jazz funk Greats’.

The ‘Swing In 82’ material doesn’t seem so unusual now when you consider that your romantic post-punk peers like Martin Fry, Billy MacKenzie, Glenn Gregory and even Ian Curtis all had an interest in the stylings of Sinatra?

I guess not. For me it was an easy choice at the time as I had listened to Sinatra when I was growing up. What influenced me just as much however, was a double album called ‘Starring Fred Astaire’ which had some great songs on it, he was a good singer as well as an excellent dancer.

‘Metamorphosis’ also features your first forays into instrumental experiments and soundtracks, something that you’ve continued in your ‘Cinematique’ series of recordings. What do you get out of this type material that you can’t get with writing pop songs?

I don’t have to sing! Also, I like the freedom of creating instrumentals and not having to adhere to the same old structures of a normal song etc.

I get a lot out of using sounds and textures that create atmospheres that can end up going to different places as you work on them.

Which are your favourites tracks on ‘Metamorphosis’ and are there any particular reasons?

I don’t listen to it much, maybe ‘Time’ as it seemed like a new departure for me and I had a new synthesizer on the go. It was a bit like indie synth ABBA.

Some of this material was lost when you signed the licensing agreement with Island Records in 1982. In hindsight, did you anticipate how much control they were likely to impose?

Probably not, but I was prepared to play the game a bit at the time, that is until I didn’t. Mostly it was OK apart from the odd children’s TV show.

You were criticised for having Alex Sadkin to produce your first solo album ‘Rhythm Of Life’, but he was actually considered to be a credible producer at the time you worked with him…

I chose him because I really liked his mix of ‘Pull Up To The Bumper’ by Grace Jones. When we were recording in New York, I quickly realised it might have been better to go down an indie type road and work more with Anton Fier from THE FELLIES and people like that. We also met Arthur Baker and could have worked with him, but it just wasn’t doable. It was my own fault really as I wanted to go for the pop thing when I signed the deal. I think Alex was a bit preoccupied anyway, with producing DURAN DURAN and THOMPSON TWINS and I understood that.

Having the late Bernie Worrell play on your album was quite cool?

That was cool! He used to come into the studio with a small bottle of Jack Daniels in a brown paper bag. It seems mad now, but I used to sit with him in the recording room and he’d say “is this how you want it?” and I’d say “great, can you add this note…”

How do you feel about the ‘Rhythm Of Life’ today?

It’s a thing. It will always be a thing.

Bernard Sumner was involved in the production of ‘The Only Truth’, a track which many consider to be your best single, especially in its full length 12 inch mix? How did that track develop in the studio?

I had everything arranged before going in. I remember being left alone with the engineer to record the whole thing basically; the drum programming, the keyboards and guitars. It was after that, that Bernard and Donald Johnson started adding more to it like extra guitar, bass and percussion. We spent a long time on the sound of the percussion which I still notice if I hear it today.

During your career, you’ve worked with both Alan Rankine and Billy MacKenzie of ASSOCIATES separately. What were each of them like to collaborate with?

Billy was always very inspiring to work with, we used to risk our sanity in the process but it was always exciting. As he didn’t really play an instrument, his ideas would usually be sung at you. Once we were in a studio that didn’t have any drum machine, so we burst a water filled balloon while sampling it and then made it into a bass drum.

When I worked with Alan, it was just as mad but we managed to get the job done somehow. I once sketched him cooking bacon in a London studio and in the sketch the bacon was saying, “please don’t hurt us Alan, please”.

‘Something Good’ was a minor German hit in 1989, what was it like to have some kind of commercial recognition after years of trying?

Don’t know actually as I’ve only heard rumours about that happening in France. I remember going to Germany briefly in 1985 to promote ‘Heaven Help You Now’.

You went on to work with Lil’ Louis and Kurtis Mantronik, what appealed to you about the club oriented music of that period?

I’d been aware of Mantronik/Mantronix for a while and really liked the production and beats. I don’t remember how Lil’ Louis came about really. I do recall they were in kind of competition with each other, always asking how I’d got on with the other one.

You’ve been quite bold in the choices of songs that you’ve covered like JOY DIVISION’s ‘Atmosphere’ and THE WALKER BROTHERS’ ‘The Electrician’?

Yes, it’s a bit cheeky really considering their voices. Don’t know what I was thinking 😉

Has the shake-up in the music industry over the last ten years worked in your favour?

I like the way you can put something out when you want to. If you don’t have a label, you can do it far more easily now. I also love the music making technology for production. With regard to the music industry, I feel removed from it. “Music” and “Industry”… there’s two words that don’t sound good together.

What’s next for you as far as musical projects are concerned? Are you working on a follow-up to ‘Kube’ yet?

I have been working on a new album for some time now. There are so many choices and amazing ways you can produce music now that sometimes it makes the whole process slower. I seem to have a different way of working now which is more time consuming, but well worth it in terms of sounds and production quality. So, the new album is a further attempt at finding the right balance between the synthetic / electronic and the organic / natural.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Paul Haig

Special thanks to James Nice at Les Disques du Crépuscule

‘Metamorphosis’ is released as a 2CD set by Les Disques du Crépuscule

http://www.paulhaig.com/

https://www.twitter.com/paulhaig

http://www.lesdisquesducrepuscule.com/metamorphosis_twi096cd.html

Text and Interview by Chi Ming Lai
14th September 2016

The Associate: An Interview with MICHAEL DEMPSEY

21 May 2016 / electricityclub

Photo by David Corio / Redferns

A former member of THE CURE, bassist Michael Dempsey first became aware of ASSOCIATES when the two bands were label mates at Chris Parry’s Fiction label.

Comprising of the kaleidoscopic vocal presence of Billy MacKenzie and the driven musicality of Alan Rankine, Dempsey soon joined ASSOCIATES as a silent partner and along with drummer John Murphy.

Both played on the three albums which defined their reputation; ‘The Affectionate Punch’, ‘Fourth Drawer Down’ and ‘Sulk’. Now reissued as 2CD deluxe editions via BMG alongside ‘The Very Best of ASSOCIATES’ compendium for the more cautious listener, these collections have been supervised and produced by Dempsey. Each package includes previously unreleased tracks and 28 page booklets featuring unseen photos, rare memorabilia and extensive sleeve notes to do justice to the ASSOCIATES legacy.

Michael Dempsey kindly chatted about this new ASSOCIATES reissue campaign and the challenges of the remastering / repackaging process in the 21st century.

What did you think bonded you with Billy and Alan musically?

I often wonder that too because they came from a very different part of the country. People describe your music as belonging to the time when it came out ie the 80s in the case of ASSOCIATES. But I think their music was very much 60s and 70s, much more so than a lot of people who were out there. I think that’s where my impressions came from.

You piece it together over time and when I listen back to a lot of ASSOCIATES stuff, it’s that really exciting 60s music that seeped into their subconscious, in the same way it did for me. When I first met them, I was amazed. I’d never come across anyone that put together music in the way that they did. It wasn’t wildly experimental or anything like that, but it was packed with these reference points that I could relate to.

Photo by Richard Mann

It was enough to make you jump ship from THE CURE. What was your creative dynamic with them like, compared with Robert Smith and Lol Tolhurst?

Billy and Alan were so different and Billy’s personality was so beguiling, the music just drew you in. With THE CURE, we were touring intensely, there wasn’t that same sort of activity going on in ASSOCIATES. THE CURE got their debut album out before ASSOCIATES, so we were slightly rivals on the label I guess.

They were constantly vying for attention from Fiction. THE CURE were a lot easier to get going, we had a band and could tour while Alan and Bill were a duo who didn’t have a band. It would have been easier 10 or 20 years later to understand how to put an act like that out. But at the time, it wasn’t very clear how Fiction would deal with these guys. So ASSOCIATES were always kept hanging on and they were always hanging around the studio. They were really good company so it wasn’t difficult for me.

You are quoted as saying the recording of ‘Sulk’ had the band inventing ways of recording with click tracks and overdubs to make the sound as lush as possible. What were the most unusual things you witnessed or were asked to do?

The notion of us being wildly experimental came from them changing their sound quite often. When they were a duo, they wanted to be a band.

When they were a band, they wanted to be electronic. And then came ‘Sulk’, which is hard to categorise. They didn’t do it in the same way as everybody else.

I found on reflection that they were using a lot of old school recording techniques. Half speed was a typical ASSOCIATES thing. To get it tight like a machine, you recorded at half speed, played it back at normal speed and it would sound a bit weird. That was something the kind of engineers and producers we worked with would have been well used to, because it was a typical 70s recording technique.

The experimenting started with their songwriting, the way they put things together was quite traditional in that it was voice and guitar. Also, they weren’t modish, they didn’t want to sound whatever it was in at that moment, they almost perversely wanted to sound unlike that. Bill would often describe the sound he wanted in oblique ways like “make the bassline green”… you’d play it and he’d go “NO! That’s blue! You’ve got to play it more green!” Some of it was just for fun, why not? *laughs*

Let’s just do it wrong! It was a perverse streak, a bit like what we had in THE CURE too. There’s somebody telling you how to do something… when you’re 19-20 years old, you try and do it in exactly the opposite way! Once they got hold of the controls, they would try and subvert the sound to make their music unusual. It often worked, sometimes it didn’t but more often, it worked. We didn’t just keep it bass / drums / guitar, we would bring in any instruments that were knocking around. So if you could lay your hands on Rick Wakeman’s vibraphone before it was picked up, you would!

How did producer Mike Hedges help in the creative process?

Mike’s biggest contribution was indulgence. So he was happy to try anything. Lots of producers will say “C’mon guys, this is really a waste of time!” whereas Mike was quite prepared to try stuff.

When you have that sort of attitude and you don’t have anyone saying “No, look at the time, we really must crack on”, it’s great. He was experimenting as much as we were. So he wasn’t a defacto producer who was calling the shots or overriding flights of fancy, he was open to ideas. THE CURE found him sympathetic too.

What was your approach with regards these reissues, compared with the V2 series in 2000?

I wanted it to be out there and we had various suitors. ASSOCIATES were very clever… unlike everybody else at the time, they actually licenced their material. So that gave us the opportunity every 5-10 years to re-licence it. You normally signed a contract into perpetuity. They were shrewd, but perhaps more by accident than design. With BMG, my expectations weren’t all that high, not because I had my pre-conceptions about them, but just because in the past, people would make a cursory attempt to put it out, but they didn’t try really hard.

But BMG were completely different from day one. They became almost more obsessive than I did. We had in Ian Gilchrist, a very good label manager, he wanted to go that extra mile, every mile. That meant we dug very deep. It was them that suggested putting ‘Sulk’ out on vinyl, I wasn’t expecting that. Then he suggested making everything a double and getting some really good pictures. That’s the one thing about ASSOCIATES, they were pretty chaotic in their existence. The idea that any of us would carry a camera would be unthinkable so pictures are very hard to come by, as are any moving images.

BMG were thorough and it’s taken about a year to bring them out. People generally bark loudly about their product but I’m happy to bark loudly, with an element of surprise, because I didn’t think it would come out as well as it has.

What can you do now that you couldn’t do then?

First of all, you can sample at 92 KHz 48bit, that’s a very respectable sound. Even to my older ears, it makes a difference. It’s like wearing a particularly fine pair of glasses, you can hear more detail at the higher sample rate.

The idea of vinyl, ASSOCIATES’ previous attempts were always disastrous because we were experimental. Things wouldn’t be simple and often dense, so it would be hard to cut, moving forwards and backwards to the master for weeks and weeks.

There would be after thoughts of speeding things up or slowing them down as we did the cut. It was very hard at the time to get us sounding good, but we were never pleased how it sounded. It was cut quietly to err on the side of caution.

When the digital age came along, it was much more of a flexible process. Back then, you had two controls, which were treble and bass! That wasn’t going to be sufficient for ASSOCIATES! *laughs*

We used to watch all these people fiddle around, but now we’re more informed. What’s great for us is that you can make things sound appropriate to whatever medium somebody wants to listen to the music in. So it’s great having everything.

I don’t know many people who actually listen to vinyl, I’ve listened to it and thought “this is interesting”. But I also quite like listening to something that hasn’t got any surface noise on it too.

Taking all that into account, why does ‘18 Carat Love Affair’ appear to be a different mix to the original 1982 vinyl single version?

It’s interesting; what you have to understand is ASSOCIATES never made a fetish of looking after their master tapes. So when you finished recording something, that was it. You didn’t need the tape, so it stayed in the studio it was recorded in.

Maybe they got moved years later and put in a cellar which got damp when it rained! So for example, there isn’t any pure tape that says “Definitive ‘Sulk’ Master”.

Also, typically, we’d go into the mastering room and someone would say “It’s a little bit like it’s dragging, shall we speed it up a bit?” – so you’re speeding up the master tape to make your vinyl… but who’s making a note of what percentage it was sped up at? It’s really hard, but we don’t have the definitive production masters of each record, so you have to piece it together.

Your record player may be running a bit slow or fast. By ’18 Carat Love Affair’, I think we’d moved over to another producer Mark Arthurworrey to finish things off, because Mike Hedges was working with SIOUXSIE & THE BANSHEES. Listening back, he didn’t actually remix, he more EQ-ed so that might be why you hear more or less of something. Again, that may have been tweaked in the final process to cut the vinyl.

All I can offer is my best approximation and I’ve decided I quite like it like that. As an exercise, it still keeps it alive.

Did you have to make any concessions to suit the download / streaming format that some favour today?

Not really, you make available your best possible master and then you hand it over to whoever. I was learning that Apple are quite fussy and use various studios to get their finished product, whereas Amazon are less fussy. Where do you stop? If I was supremely conscientious and fully employed in this, I could take it all the way but there’s a point you have to hand it over, so I surrender at a certain point.

Photo by David Corio / Redferns

How do you look back on the band imploding in the wake of the success of ‘Sulk’? Was there anything in hindsight that could have been done to keep Billy and Alan working together?

We would have had to have waited until we were 52, had wisdom and more understanding. It was stupid, the 80s were excessive and the focus was on style rather than content, ASSOCIATES kind of had both.

It was considered that ‘Sulk’ was a big sounding record and needed lots of people to recreate it live… it’s quite easy to see now that it was the completely wrong thing to do. Because Billy was an instinctive guy, he knew when something was wrong and would often judge people just from their clothes… that can be frustrating, because some people don’t dress particularly well. BUT, he kind of had a point as well, because you are the pair of shoes you wear very often. So he would size people up amazingly accurately. *laughs*

As the thing ballooned, he felt he was losing control of the situation and the only thing he could do was to say “No, I don’t want to do this!” – he’s the one person that you can’t do without, along with Alan as well. What should we have done? I say they should have gone out as a duo with a drum machine; Billy would have loved that because he loved SUICIDE.

The name ASSOCIATES, he was always keen to tell me time and time again, was that he liked to be associated with people, he didn’t want to carry a John, Paul, George and Ringo around with him. It would have been much better if he and Alan had simply stripped it right back… the idea of stripping things down didn’t come to be mainstream until very much later.

I think Alan on guitar, with a vibraphone player and Billy singing would have been a nice sound. These songs are really good, they don’t depend entirely on production technique which a lot of stuff did at that time. When I first heard their entire repertoire of about 50 songs, they sat down in their bedroom and played the lot, and it was just voice and guitar. So that could have translated very simply to live and I think that would have saved them.

But back then, people didn’t have that sort of grasp or flexibility, it was a lot harder to do things. Things are a lot simpler now. Music is a bit more respectable and there are better people working in it too. If we were in that situation today, I’d know exactly what to do and there would be the possibility of everyone responding to that.

What are your personal favourites from these releases?

I’ve always loved ‘Skipping’ because I helped write it, but it also captures that exuberance and I know Billy liked that a lot as well, he felt that was a really strong track on ‘Sulk’. I also think ‘No’ is a very powerful, dark song which always works for me too.

People will no doubt criticise the extras as being just that and perhaps being a little superfluous, but they illustrate how you get to the hits. They’re stepping stones along the way; they’re not perfect but I find them very intriguing.

Perhaps one of my favourites is the track that I close ‘Sulk’ CD2 with, which is ‘Grecian 2000’. That was the last piece of music that we recorded before the ill-fated tour started up… that was the way it was going. When you listen to that, it’s really tantalising. Billy did start on a vocal, I remember him singing it but it wasn’t recorded. They were moving onto the next phase, yet this great steamroller got in the way… they should have gone back to the studio and just wrote another 10 of these and had another album.

Is there much left in the ASSOCIATES vaults that aren’t on these reissues?

Back in 2000 when I last did it, I thought “that’s it, nothing else is going to come up”… but because the ASSOCIATES vault never seems definitive, this time, much more stuff did surface. The longest, most intense period is trying to trawl through who might possibly have something. The multi-tracks of ‘Club Country’ and ‘Party Fears Two’ were lost a long time ago and miraculously, I don’t know where it came from, we finally found ‘Club Country’. We still don’t have ‘Party Fears Two’, so somebody has got that somewhere or it’s at the bottom of the River Tay. So next time somebody asks me to do this, who knows?

I knew they existed but we only just got the masters for the John Leckie produced tracks; one is ‘Australia’ and the other is an early version of ‘Arrogance Gave Him Up’ called ‘Me, Myself & The Tragic Story’. ‘Australia’ is interesting because it’s a completely different production so had we gone down the John Leckie road, ‘Sulk’ would have sounded very different.

What’s your take on the continual interest in ASSOCIATES?

It doesn’t surprise me. I find it hard, then and now, to describe what they sound like. They were outsiders, and that’s sort of where I came from with THE CURE, we were on the edges of lots of things, but never sounded like anybody.

While other bands managed to get a contemporary sound and prosper, I don’t think ASSOCIATES ever got a contemporary sound, and so didn’t prosper! But long term, that makes it more fascinating for a lot of people. It’s that ultraplicity of references that you hear in the music which draws disparate people in, but it’s not a particular sound. That’s why I think people still find them very intriguing.

You’ve got a great singer, me and Alan were talking about this today and about who around at the time would really have stood up against Billy… some kept it simple and pulled it off, but Billy didn’t keep it simple. He often tried too hard, but he worked it beyond the call of duty sometimes, particularly live.

He could do things no-one else could do with his voice; everybody recognised that at the time and people still recognise that now.It was the combination of him and Alan; as Billy was a brilliant singer, Alan was a brilliant musician who could play anything, and did play anything. Between the two of them, they were great songwriters too, they really loved music. When you’ve got that collision of positives, then you’re going to come up with something different and outstanding.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Michael Dempsey

Additional thanks to Stuart Kirkham at Hall Or Nothing Independent Publicity

‘The Affectionate Punch’, ‘Fourth Drawer Down’, ‘Sulk’ and ‘The Very Best of ASSOCIATES’ are available now as 2CD packages via BMG

https://www.facebook.com/theassociatesofficial/

Text and Interview by Chi Ming Lai
21st May 2016