Tag: Daniel Miller (Page 6 of 7)

The Electronic Legacy of MUTE RECORDS

23 June 2015 / electricityclub

Without doubt, Mute Records is one of the most important record labels in the history of electronic music.

While the early electronic legacy of Virgin Records helped the genre gain its first foothold in the mainstream, the discerning ethos of Mute has maintained its presence in both pop and more experimental fields.

Like many, Mute supremo Daniel Miller began taking an interest in synthesizers as tools for making pop music after hearing KRAFTWERK’s ‘Autobahn’. The son of Austrian Jewish refugees, he was DJing on the continent after completing his film studies course when he became enthralled by the Kling Klang sound.

He was inspired to make electronic music himself but at the time, the equipment was prohibitively expensive. That all changed with the advent of affordable synthesizers from Japan manufactured by the likes of Korg and Roland.

Already a fan of German kosmische scene, his sense of experimentation and an adoption of punk’s DIY ethic led him to buying a Korg 700s. Wanting to make a punk single with electronics, he wrote and recorded ‘Warm Leatherette’ b/w ‘TVOD’ for a one-off independent single release in 1978. He needed a label name and chose ‘Mute’ after the button that came on the equipment that he had used as a film studies student.

Distributed by Rough Trade, MUTE 001 was a surprise success and thanks to him including his mother’s North London home address on the back of the striking monochromatic crash test dummy sleeve, Miller started receiving cassettes from kindred spirits who were keen to explore the brave new electronic world; he realised that a new scene was developing.

Through his connections at Rough Trade, he became aware of former art student Frank Tovey. As FAD GADGET, Tovey recorded ‘Back To Nature’ which was issued as MUTE 002 in October 1979. A seminal work that was also critically acclaimed, it helped establish Mute’s credentials as a champion of electronic music.

The first album released on Mute was ‘Die Kleinen Und Die Bösen’ by German band DEUTSCH AMERIKANISCHE FREUNDSCHAFT (DAF) in March 1980. Miller had signed them because “they weren’t relying on past rock”. The majority of STUMM 1 was recorded with the legendary Conny Plank at the controls of the studio recordings, while the remainder came from tape of a live gig at London’s Electric Ballroom.

DAF set the ball rolling in furthering Mute’s aspirations, while the Germanic influence continued through into the label’s cataloguing system as the album prefix Stumm was the German word for Mute.

Meanwhile, Miller was fascinated about the idea of synthesizers as the future of popular music and conceived a teenage pop group who would use only synths; he called them SILICON TEENS although in reality, this was actually his solo electronic covers project. Something of a novelty, his cover of ‘Red River Rock’ ended up on the closing credits of the Steve Martin / John Candy comedy ‘Planes, Trains & Automobiles’ in 1987!

But Miller’s dream became flesh and blood when he came across a young quartet from Basildon called DEPECHE MODE. Signed on a handshake 50/50 deal, while the group was a chart success, they fragmented after their 1981 debut album ‘Speak & Spell’. However the remaining trio of Andy Fletcher, Dave Gahan and Martin Gore recruited Alan Wilder, soldiered on and the rest is history. Meanwhile, the departed Vince Clarke went on to further success with YAZOO, THE ASSEMBLY and ERASURE.

With the label’s commercial success, Mute were able to back more experimental releases from Germany including the quirky single ‘Fred Vom Jupiter’ by ANDREAS DORAU & DIE MARINAS, and ‘Los Ninos Del Parque’ by LIAISONS DANGEREUSES. Mute’s business ethos, where money made from record sales allowed acts to develop within a sympathetic creative environment free from interference, proved to be key to its artistic and financial prosperity.

As the label expanded over the years, further signings included EINSTÜRZENDE NEUBAUTEN, LAIBACH, WIRE, BOMB THE BASS (through the Blast First subsidiary), INSPIRAL CARPETS, GOLDFRAPP while Moby and Nick Cave proved to be amongst the big successes . Meanwhile Miller took the ultimate step in his love of German music, acquiring the rights to the music of CAN and becoming the winning bidder for the vocoder used on ‘Autobahn’ when it came up for auction!

In May 2002, Mute Records was bought by EMI for £23m, although Miller remained as a figurehead and in charge of the company’s global activities. The label became the brand for the multi-national’s electronic music activities and when KRAFTWERK’s back catalogue was finally remastered by EMI, it was released under the Mute banner.

However, with rapid changes occurring within the industry as a result of the new digital marketplace, EMI and Miller reached an agreement in September 2010 to establish a second independently run record label under the name Mute Artists for new acts, while the Mute Records name and rights to the label’s archive recordings remained under the control of EMI via its new owners Universal. As owners of their own catalogue, DEPECHE MODE formally ended their association with the label that launched them and signed a lucrative licencing agreement with Sony BMG.

But the Mute story continues with acts such as MAPS and Polly Scattergood, while Miller’s latest addition to the roster has been NEW ORDER whose new album ‘Music Complete’ will be out on 28th September 2015.

So what twenty albums or EPs best represent Mute’s electronic legacy? With a restriction of one release per artist moniker, here are ELECTRICITYCLUB.CO.UK’s choices…

FAD GADGET Fireside Favourites (1980)

Following the success of singles ‘Back To Nature’ and ‘Ricky’s Hand’ with a small but loyal fanbase now established, a FAD GADGET album was eagerly anticipated. It came in September 1980 with ‘Fireside Favourites’ co-produced with Eric Radcliffe and John Fryer. it developed on the minimal industrialism of the singles. The superb ‘Coitus Interruptus’ was a cynical commentary on casual relationships while the Cold War tensions were documented on ‘Fireside Favourite’.

‘Fireside Favourites’ was released as STUMM 3

http://www.fadgadget.co.uk

SILICON TEENS Music For Parties (1980)

Following the acclaim that was accorded to THE NORMAL, Daniel Miller decided to undertake a new project where rock ’n’ roll standards such as ‘Memphis Tennessee’, ‘Just Like Eddie’ and ‘Let’s Dance’ were reinterpreted in a synthpop style, with Miller singing like he had a clothes peg attached to his nose. With his inherent shyness, the vehicle he used was SILICON TEENS, a fictitious synth group where several young actors were hired to appear in videos and do press interviews.

‘Music For Parties’ was released as STUMM 2

http://mute.com/

YAZOO Upstairs At Eric’s (1982)

Disillusioned by the pop circus following the singles success of ‘New Life and ‘Just Can’t Get Enough’, Vince Clarke departed DEPECHE MODE in late 1981 and formed YAZOO with Alison Moyet. Although they only released two albums, YAZOO’s impact was long lasting. The debut ‘Upstairs at Eric’s’ was a perfect union of passionate bluesy vocals and pristinely programmed synthpop. Songs such as ‘Only You, ‘Don’t Go’, ‘Midnight’ and ‘Winter Kills’ set a high standard but the duo parted ways.

‘Upstairs at Eric’s’ was released as STUMM 7

http://www.yazooinfo.com/

ROBERT GÖRL Night Full Of Tension (1984)

In a departure from DAF’s pioneering electronic body music, drummer Robert Görl lightened up considerably with a solo synthpop record that even had him posing bare chested by a swimming pool on the cover. ‘Night Full Of Tension’ even featured vocal contributions from EURYTHMICS’ Annie Lennox on ‘Charlie Cat’ and ‘Darling Don’t Leave Me’. Although not featuring on the original LP, the brooding but accessible single ‘Mit Dir’ was an electronic cult classic and included on the CD reissue.

‘Night Full Of Tension’ was released as STUMM 16

http://www.robert-goerl.de

ERASURE The Circus (1986)

Although success for ERASURE was not instant with debut album ‘Wonderland’ and its lost single ‘Oh L’Amour’, the chemistry between Clarke and Bell possessed a special spark. ERASURE toured the college circuit and built up a loyal fanbase, eventually hitting chart paydirt with ‘Sometimes’. ERASURE added political commentary ‘It Doesn’t Have To Be’ and ‘The Circus’ title track, while songs such as ‘Spiralling’ and ‘Hideaway’ confirmed they were more than just a great singles act.

‘The Circus’ was released as STUMM 35

http://www.erasureinfo.com

LAIBACH Opus Dei (1987)

Controversial Slovenians LAIBACH played with Teutonic rhythms and Third Reich imagery, while their unique covers of QUEEN’s ‘One Vision’ and OPUS’ ‘Life Is Life’ indicated they were either ironic art terrorists or preachers of a dangerous political message. Mute were accused of tolerating artists with far right sympathies but with Daniel Miller’s Jewish heritage, this was unlikely. Their industrial torture made an impact with ‘Opus Dei’, particularly on RAMMSTEIN.

‘Opus Dei’ was released as STUMM 44

http://www.laibach.org/

MARTIN GORE Counterfeit (1989)

‘Counterfeit’ allowed Gore to indulge in six covers with varying origins. The emotive traditional standard ‘Motherless Child’ revealed his love of the Blues while a great version of SPARKS’ ‘Never Turn Your Back On Mother Earth’ was a fitting look back at the eccentric pop that would have fed the young Mr Gore. Reinterpretations of cult artists such as TUXEDOMOON, THE DURUTTI COLUMN and THE COMSAT ANGELS revealed there was a lot more to Gore’s record collection.

‘Counterfeit’ released as STUMM 67

http://www.martingore.com

DEPECHE MODE Violator (1990)

Why is ‘Violator’ so important and highly celebrated? It is still DEPECHE MODE’s most complete and accomplished body of work. It was the classic Fletcher/Gahan/Gore/Wilder line-up firing on all cylinders and at their most happiest as a unit. The end result was four hit singles but also songs such as ‘Halo’, ‘Waiting For The Night’ and ‘Clean’ which were easily their equal. And on ‘Blue Dress’, Gore’s lyrics possessed an honesty that while dark and deviant, still retained a naïve innocence.

‘Violator’ was released as STUMM 64

http://www.depechemode.com

NITZER EBB As Is (1991)

‘As Is’ saw Essex industrialists NITZER EBB at the height of their imperial powers. Although produced by the band, each song was mixed by a different artist or producer. These included Jaz Coleman from KILLING JOKE, producer Flood and MAGAZINE’s Barry Adamson. But the best number was ‘Come Alive’ mixed by Alan Wilder which had the legacy of ‘Violator’ stamped all over it. The subsequent album ‘Ebbhead’ which was produced by Wilder and Flood.

‘As Is’ was released as MUTE 122

http://www.nitzer-ebb.com/

RECOIL Bloodline (1992)

While there had been two EPs ‘1 + 2’ and ‘Hydrology’ by RECOIL, Alan Wilder’s solo sideline to DEPECHE MODE, it wasn’t until 1992 that there was a full length album. ‘Bloodline’ featured vocals from NITZER EBB’s Douglas McCarthy, Toni Halliday of CURVE and Moby. Wilder’s brooding electronic soundscapes and meticulous production made their presence felt and it was McCarthy’s contributions to a cover of Alex Harvey’s ‘Faith Healer’ that stole the show.

‘Bloodline’ was released as STUMM 94

http://www.recoil.co.uk/

MOBY Everything Is Wrong (1995)

When Moby was signed by Daniel Miller, he was considered to be a one hit wonder with ‘Go’ in 1991. His first proper album ‘Everything Is Wrong’ arrived in 1995. The superb instrumental ‘First Cool Hive’, the happy hardcore of ‘Feeling So Real’, the gospel punk of ‘All That I Need Is To Be Loved’ and the neo-classical ‘Hymn’ showcased his eclectic tastes. Miller’s tremendous foresight turned out to be a wise decision when the unexpected success of ‘Play’ in 1999 provided a boost for Mute.

‘Everything Is Wrong’ was released as STUMM 130

http://www.moby.com

KOMPUTER EP (1996)

London duo Simon Leonard and David Baker began as I START COUNTING and then morphed into FORTRAN 5. But as KOMPUTER, they created some heavily KRAFTWERK influenced numbers to make up for the lack of new material. From their first ‘EP’, ‘We Are Komputer’ was their own ‘The Robots’, while there was also the tribute to the first female Cosmonaut ‘Valentina Tereshkova’ which mined ‘The Model’.

‘Komputer’ was released as MUTE 175

https://komp46.wixsite.com/komputer

PEACH Audiopeach (1997)

The concept of PEACH was ‘ABBA meets THE KLF’. Released in September 1997, ‘Audiopeach’ is one of those albums that has been lost in the midst of ‘Cool Britannia’. The album’s reputation was based on the participation of its two instrumentalists Pascal Gabriel and Paul Statham. Completing PEACH’s line-up was singer Lisa Lamb. The album’s launch single ‘On My Own’ was classic pop for the modern era with Lamb’s vocal delivery akin to Belinda Carlisle going electro.

‘Audiopeach’ was released as STUMM 153

http://www.inspiracy.com/peach

ADD N TO (X) Add Insult To Injury (2000)

While LADYTRON were using their Korg MS20s making sinewaves in a more pop oriented setting, ADD N To (X) took their MS series synths into more obscure, experimental territory. ‘Add Insult To Injury’ had one half written / performed by Ann Shenton and Steve Claydon, while the other was written / performed by Barry 7. The wonderful robotic sexual tension of ‘Plug Me In’ and the creepy noise fest of ‘Hit For Cheese’ were highlights.

‘Add Insult To Injury’ was released as STUMM 187

http://www.addntox.com/

GOLDFRAPP Felt Mountain (2000)

‘Felt Mountain’ was a superb introduction to the then electro Weimar Cabaret cinematics of Alison Goldfrapp and Will Gregory. Beginning with the superb ‘Lovely Head’ with its spine tingling whistle and MS20 assisted banshee wails, the album thrilled with Morricone style widescreen inflections to accompany an ascent to the Matterhorn rather than a trek through a Spaghetti Western. ‘Felt Mountain’ was a slow burner that was nominated for the Mercury Music Prize.

‘Felt Mountain’ was released as STUMM 188

http://www.goldfrapp.com

VINCENT CLARKE & MARTYN WARE Spectrum Pursuit Vehicle (2001)

‘Spectrum Pursuit Vehicle’ was composed as part of an installation where the colours referred to in the titles of the six lengthy pieces were ‘programmed to cross fade imperceptibly to create an infinite variation of hue’ in a white clothed room. Tracks like ‘White – You Are In Heaven’, ‘Yellow – You Are On A Beach’, ‘Blue – You Are Underwater’ and’ Green – You Are In A Forest’ were all utilised to full effect with a binaural 3D mixing technique best heard using headphones.

‘Spectrum Pursuit Vehicle’ was released as STUMM 194

http://www.illustriouscompany.co.uk

CLIENT Client (2003)

In 2002, DUBSTAR’s Sarah Blackwood was recruited to front synthpop duo TECHNIQUE by Kate Holmes. In Leipzig supporting DEPECHE MODE, they became CLIENT and were mysteriously referred to as Client A and Client B in a ‘1984’ inspired Orwellian twist. Signed to Mute via Andy Fletcher’s Toast Hawaii imprint, they announced “Client… satisfaction guaranteed… innovate never imitate… we aim to please… at your service” before a “F*** OFF! DON’T TOUCH ME THERE!”

‘Client’ was released as TH 003

http://www.clientlondon.com/

DAVE GAHAN Hourglass (2007)

His solo debut ‘Paper Monsters’ was a disappointment, but Dave Gahan was still finding his feet as a songwriter, becoming more realised on ‘Playing The Angel’. ‘Hourglass’ was better and ‘Kingdom’ could have made a great DM recording. But in the same way that Mick Jagger’s 1984 Nile Rodgers produced solo debut LP having very few takers meant that the ROLLING STONES would continue ad infinitum, would DEPECHE MODE still be going if Mr Gahan’s solo career had taken off?

‘Hourglass’ was released as STUMM 288

http://www.davegahan.com

MAPS Vicissitude (2013)

While Mute continues to diversify, the more esoteric pop aspirations of Mute’s synthetic roster continues. MAPS is the vehicle of James Chapman; with a more expansive electronic template, his third album ‘Vicissitude’ was a selection of very personal songs with a strong melodic backbone. Unafraid to let the instrumental synth elements take a role in the overall aesthetic, tracks like ‘AMA’ and ‘You Will Find a Way’ put MAPS into the same league as M83 and EAST INDIA YOUTH.

‘Vicissitude’ was released as STUMM 354

http://www.thisismaps.com

POLLY SCATTERGOOD Arrows (2013)

Polly Scattergood signalled the more electronic journey of her second album ‘Arrows’ with the marvellous electro-COCTEAU TWINS twist of ‘Wanderlust’. While there were still signs of her folkier roots, synthetic textures and technological trickery were very much part of the action. The sad but driving pop of ‘Falling’ and ‘Subsequently Lost’ attracted empathy with Polly World, while the highly emotive ‘Miss You’ and the dreamy ‘Cocoon’ displayed her vulnerability.

‘Arrows’ was released as STUMM 328

http://www.pollyscattergood.com/

Text by Chi Ming Lai with thanks to Simon Helm at Cold War Night Life
23rd June 2015

25 SYNTH SINGLES THAT SHOULD HAVE BEEN HITS

3 January 2015 / electricityclub

Statistics can often not be a good indicator of quality and so it is that sometimes, a great single never actually attained the sales recognition it deserved. This could have been due to timing, lack of interest from a fickle music buying public or even a saturated market.

While some of these lost singles do get forgotten, many become live standards and firm fan favourites. So here are 25 singles from predominantly established acts or collectives featuring figures who are now well known in the music scene, that did not reach the UK Top 40 singles chart. Due to the sheer numbers of songs that are eligible, a cut-off point has been made for when CD singles started to become the norm around 1990.

After much deliberation, it was decided to leave out the work of ASSOCIATES as a number of their songs that would have been contenders for this list were featured in ELECTRICITYCLUB.CO.UK’s own Beginner’s Guide To Billy MacKenzie. There are of course, several other notable omissions, but this list could go on forever…

So with a restriction of one single per artist moniker, the list is presented in chronological order by year, and then alphabetically…

THE HUMAN LEAGUE Empire State Human (1979)

It seems strange now that this extremely catchy single failed to be a hit in an era when synthesizers were being accepted by the wider record buying public. After all, both SPARKS and TUBEWAY ARMY had entered the Top 20 with their Moog assisted ditties. In hindsight though, Colin Thurston’s production did sound comparatively thin next to ‘The Number One Song in Heaven’ and ‘Are Friends Electric?’. Despite a timely re-release in 1980, ‘Empire State Human’ only reached a high of No62.

Available on THE HUMAN LEAGUE album ‘Reproduction’ via Virgin Records

http://www.thehumanleague.co.uk

LORI & THE CHAMELEONS Touch (1979)

THE CHAMELEONS (not to be confused with the cult Manchester band) were actually Zoo Records supremos Bill Drummond of THE KLF fame and country house resident Dave Balfe who played keyboards with THE TEARDROP EXPLODES. On the beautifully sequenced ‘Touch’, art school student Lori Lartey innocently told of her holiday romance in Tokyo. It spent one week at No70 when re-issued on Sire Records. There was to be just one more single entitled ‘The Lonely Spy’.

Available on the compilation album ‘North By North West’ (V/A) via Korova Records / Warner Music

http://www.penkilnburn.com/

JAPAN Gentlemen Take Polaroids (1980)

After three albums with Ariola Hansa, JAPAN decamped to Virgin Records and reached No60 with ‘Gentlemen Take Polaroids’, their first single release on the label. But much more was expected as the band were already playing huge venues such as The Bukodan in Tokyo. It would not be until Autumn 1981 following a cash-in release of ‘Quiet Life’ by their former label that David Sylvian and Co. were to become regular singles chart fixtures.

Full length version available on the JAPAN album ‘Gentlemen Take Polaroids’ via Virgin Records

http://www.nightporter.co.uk

ROBERT PALMER Johnny & Mary (1980)

Robert Palmer took an interest in synths having become a fan of Gary Numan and JAPAN. ‘Johnny & Mary’ was a beautifully world weary number that hit a high of No44. He later had massive success with a more rock flavoured sound while his bank balance was enhanced when the song was covered for the ‘Papa et Nicole’ Renault adverts. Bryan Ferry’s reinterpretation with Todd Terje exposed a twilight years scrutiny on the lyrics which sadly, Palmer himself was never able to do…

Available on the ROBERT PALMER album ‘Clues’ via Island Records / Universal Music

http://www.robertpalmer.com/

SIMPLE MINDS I Travel (1980)

SIMPLE MINDS were signed to Arista Records between 1979-1980 and like JAPAN, they were met with indifference by their label. ‘I Travel’ was their penultimate single at Arista who threw in a free blue flexidisc featuring ‘Kaleidoscope’ and ‘Film Theme Dub’ as a sweetener to early purchasers. But despite airplay at The Blitz Club where its futuristic frenzy was highly welcomed, ‘I Travel’ did not make any chart impact.

Available on the SIMPLE MINDS album ‘Celebrate: The Greatest Hits’ via Virgin Records

http://www.simpleminds.com

ULTRAVOX Passing Strangers (1980)

Things were heading in the right direction for the Mk2 line-up of ULTRAVOX following ‘Sleepwalk’ getting to No29 in the UK chart. Built around a more synth rock structure, ‘Passing Strangers’ had a great chorus and a sympathetic environment in which THE HUMAN LEAGUE and DEPECHE MODE were also managing to break through. But the single stiffed at No57 and it would take the massive surprise success of ‘Vienna’ in early 1981 to truly establish ULTRAVOX as a chart force.

Available on the ULTRAVOX album ‘The Collection’ via EMI Records

http://www.ultravox.org.uk

OUR DAUGHTER’S WEDDING Lawnchairs (1981)

New York’s OUR DAUGHTER’S WEDDING were one of the new synthpop acts to emerge from across the Atlantic and their best known song ‘Lawnchairs’ was a frantic mechanised combination of OMD and Gary Numan. Despite gaining regular radio play in the UK, its chart summit was No49. The trio later re-recorded ‘Lawnchairs’ with a more conventional live drum sound, but this template totally took the charm out!

Available on the OUR DAUGHTER’S WEDDING album ‘Nightlife – The Collection’ via EP Music

http://www.synthpunk.org/odw/

SOFT CELL Memorabilia (1981)

Produced by Daniel Miller, ‘Memorabilia’ borrowed heavily from Cerrone’s ‘Supernature’. Released as a 12 inch single but relegated to B-side on the edited 7 inch with ‘A Man Could Get Lost’ as the A-side, Almond recalled a list of trashy souvenirs that were also metaphors for stalking. Dark yet danceable, despite not being a hit, ‘Memorabilia’ would later becitied as an influential proto-house classic.

Available on the SOFT CELL album ‘The Very Best Of’ via Phonogram / Universal Music

http://www.marcalmond.co.uk

BLANCMANGE Feel Me (1982)

If Ian Curtis had joined TALKING HEADS, then it might have sounded like this. “I always thought it was more David Byrne than Ian Curtis but, there was never any intention” recalled Neil Arthur in 2013, “We hired a Roland Jupiter 8, an ARP sequencer and a Korg MS20 plus a Linn LM-1 which Stephen Luscombe and I programmed up”. Reaching No46, ‘Feel Me’ always had untapped hit potential as FAITHLESS’ reworking using Arthur’s vocals proved.

Available on the BLANCMANGE album ‘Happy Families’ via Edsel Records

http://www.blancmange.co.uk

THOMAS DOLBY Europa & The Pirate Twins (1982)

With its thundering Simmons drums and glistening synth riff, ‘Europa & The Pirate Twins’ was based on a real life romance of Dolby’s: “I had a girlfriend and we used to fantasise that after the apocalypse, wherever we were, we would meet up on this beach in East Anglia where I grew up… I always thought she’d end up being this big movie star or something”. The song was not a Top40 hit, but entered the wider consciousness when it was used as the theme to BBC Radio1’s ‘Saturday Live’.

Available on the THOMAS DOLBY album ‘The Golden Age Of Wireless’ via EMI Records

http://www.thomasdolby.com

HEAVEN 17 Let Me Go (1982)

Glenn Gregory and Martyn Ware often cite ‘Let Me Go’ as their favourite HEAVEN 17 song. Propelled by a funky Roland TB303 Bassline before it was hijacked by Acid House, ‘Let Me Go’ had hit written all over it, but stalled at No41. But in a competitive Autumn ‘82 for new releases, later international hits like Thomas Dolby’s ‘She Blinded Me With Science’ and EURYTHMICS’ ‘Love Is A Stranger’ (on its initial release) were having difficulties getting into the UK Top40.

Available on the HEAVEN 17 album ‘The Luxury Gap’ via Virgin Records

http://www.heaven17.com

THE TEARDROP EXPLODES Tiny Children (1982)

THE TEARDROP EXPLODES may not have been a synthesizer driven group, but this marvellously haunting ballad was layered in Prophet5 courtesy of Dave Balfe while Julian Cope sounded like a distressed little boy, lost in his sunshine playroom. Mercury Records probably thought ‘Tiny Children’ would be a hit following the success of JAPAN’s ‘Ghosts’ but released in June 1982, the sonic chill was not what people were wanted as they prepared for their summer holidays!

Available on THE TEARDROP EXPLODES album ‘The Greatest Hit’ via Mercury / Universal Music

https://www.headheritage.co.uk/

TEARS FOR FEARS Suffer The Children (1982)

When TEARS FOR FEARS first appeared, they were trying to emulate OMD. ‘Suffer The Children’ took inspiration from Curt Smith and Roland Orzabal de la Quintana’s interest in Primal Scream therapy while musically, it recalled McCluskey and Humphreys’ ‘Pretending To See The Future’ but with more guitar. The child-like refrain by Ozabal’s wife within the bridge and coda would have actually sounded like an OMD hookline had it been played on synth.

Available on the TEARS FOR FEARS deluxe album ‘The Hurting’ via Mercury / Universal Music

http://tearsforfears.com/

VISAGE Pleasure Boys (1982)

In Autumn 1982, VISAGE were in a state of limbo following the departure of Midge Ure. But with John Luongo who had remixed ‘Night Train’ on board, the remaining quartet of Steve Strange, Rusty Egan, Billy Currie and Dave Formula plus new bassist Steve Barnacle explored New York electro. ‘Pleasure Boys’ was hard and aggressive with lyrics full of hedonism. But the New Romantic audience had moved on and sales were only enough for it to get to No44.

Full length dance mix version available on the VISAGE album ‘The Face – The Best Of’ via Universal Music

http://www.visage.cc/

DEAD OR ALIVE Misty Circles (1983)

Have courted the major labels, DEAD OR ALIVE finally settled on Epic Records and unleashed this vicious slice of electro gothic disco in ‘Misty Circles’ as their first single release for them. Featuring guitars from a soon-to-be-sacked Wayne Hussey, who went on to join THE SISTERS OF MERCY and then form THE MISSION, ‘Misty Circles’ had a highly unusual sound produced by Zeus B Held that was darker than the romping Hi-NRG that DEAD OR ALIVE were later to have hits with.

Full length version available on the DEAD OR ALIVE album ‘Evolution’ via Epic Records / Sony Music

http://www.deadoralive.net/

JOHN FOXX Endlessly (1983)

By 1983, JOHN FOXX had moved away from pure electronic music and was now listening to both SIMPLE MINDS and U2. His third solo album ‘The Golden Section’ took on a more pop oriented slant under the auspices of producer Zeus B Held ‘Endlessly’ was initially released in 1982 as a moody Linn drum heavy psychedelic romp and failed to chart. But for the new version, thundering sequencers, Simmons drums and a danced up euphoria were added… however, it still failed to be a hit.

Available on the JOHN FOXX album ‘The Golden Section’ via Esdel Records

http://www.metamatic.com

OMD Telegraph (1983)

‘Electricity’ would have been a hit had its sales not been spread over three separate releases with different recorded versions between 1979-80. ‘Telegraph’ was an angry metaphoric attack on religious fundamentalism in the USA, but considered to be the most commercial track on OMD’s brave but critically panned nautical adventure ‘Dazzle Ships’. With an infectious synth melody, what was there not to like? But OMD’s audience had diminished by this time and it only got to No42.

Available on the OMD album ‘Dazzle Ships’ via Virgin Records

http://www.omd.uk.com

TALK TALK My Foolish Friend (1983)

Produced by Rhett Davies who was best known for his slick touches on ROXY MUSIC’s ‘Avalon’, ‘My Foolish Friend’ was the last TALK TALK song to feature contributions from their original keyboardist Simon Brenner. Released between ‘The Party’s Over’ and ‘It’s My Life’ albums as a single, Mark Hollis was in wonderfully miserable mode over a dramatic synthesized backdrop. The single became lost when it only reached No57 and was not included on the ‘It’s My Life’ long player.

Available on the TALK TALK album ‘Asides Besides’ via EMI Music

http://www.spiritoftalktalk.com

THE BLUE NILE Tinseltown In The Rain (1984)

A classic song that sounded like THE PSYCHEDELIC FURS fronting OMD, ‘Tinseltown In The Rain’ is regarded as THE BLUE NILE’s signature tune. Released as part of a deal with hi-fi manufacturer Linn Products to showcase their flagship Sondek LP12 turntable, the gorgeous melancholy of ‘Tinseltown In the Rain’ had an understated quality that ensured the trio’s sporadic releases over the next 20 years were eagerly anticipated by the musical cognoscenti.

Full length version available on THE BLUE NILE album ‘A Walk Across The Rooftops’ via Virgin Records

http://www.thebluenile.net

CHINA CRISIS Arizona Sky (1986)

CHINA CRISIS are probably the most underrated band of their generation. Lyrically inspired by an artificially assisted gondola ride in Venice, ‘Arizona Sky’ was one of their many singles which deserved greater recognition. The nucleus of Gary Daly and Eddie Lundon usually managed at least one hit per album but with ‘Arizona Sky’, it was not to be. It settled at No47 despite the song’s brilliant singalong chorus, infectious synthesized textures and catchy “bop-bop-be-doo-dah” refrain.

Full length version available on the CHINA CRISIS album ‘Wishful Thinking: The Very Best Of’ via Universal Music

https://www.facebook.com/pages/China-Crisis/295592467251068

ERASURE Oh L’Amour (1986)

“Why are they doing a DOLLAR song?” someone was overheard at their first visit to an ERASURE concert. And this ultimately sums up why ‘Oh L’Amour’ should have been a massive hit. Its now highly collectable ‘Thomas The Tank Engine’ cover had to be withdrawn due to copyright infringement and wouldn’t have helped availability. However, it should be noted that the original artwork actually features two incidental characters from the Reverend W Audrey’s famous books…

Available on the ERASURE album ‘Always – The Very Best Of’ via Mute Records

http://www.erasureinfo.com

NEW ORDER Bizarre Love Triangle (1986)

One of NEW ORDER’s best loved tunes, ‘Bizarre Love Triangle’ only reached No56 in the UK singles chart. However, the version released was an irritating, dance enhanced remix by Shep Pettibone which took all the subtlety out of the song with its collage of overdriven percussive samples. Far better and much more commercial was an at-the-time unreleased remix by Stephen Hague which later formed the basis of the ’94 version on ‘(the best of)’ compilation.

Available on the NEW ORDER album ‘Singles’ via Rhino Records

http://www.neworder.com

ACT Snobbery & Decay (1987)

It was the height of Thatcherism and the Synclavier driven theatrics of ‘Snobbery & Decay’ were a sharp observation by Claudia Brücken and Thomas Leer on the state of the nation. However, the UK were not yet ready for an Anglophile German to tell them about its political decline… “No sadly they didn’t” remembered Claudia Brücken in Summer of 2010, “perhaps it was just not the right moment for this song… Thomas does think that perhaps we were ahead of our time”.

Available on the CLAUDIA BRÜCKEN album ‘ComBined – The Best Of’ via Salvo / Union Square Records

http://www.claudiabrucken.co.uk

KRAFTWERK The Telephone Call (1987)

The last single featuring the classic RFWK line-up, ‘The Telephone Call’ was the most immediate track on the disappointing ‘Electric Cafe’ album. Featuring lead vocals from Karl Bartos, despite the abundance of digital synthesis and sampling, ‘The Telephone Call’ still had all the usual Kling Klang hallmarks such as pretty melodies, syncopated rhythms and slightly off-key singing to make this to ‘Electric Cafe’ what ‘Computer Love’ was to 1981’s ‘Computer World’ opus.

Available on the KRAFTWERK album ‘Techno Pop’ via Mute Records

http://www.kraftwerk.com

CAMOUFLAGE The Great Commandment (1988)

Today, DEPECHE MODE influenced acts are common place but in 1988, this was highly unusual. Taking ‘Some Great Reward’ as their template, CAMOUFLAGE developed on the industrial flavoured synthpop of ‘Master & Servant’ and ‘People Are People’ which DM had all but abandoned from ‘Black Celebration’ onwards. ‘The Great Commandment’ was probably the best single DM never recorded but while it was a hit in Europe and the US, it made no impression in the UK.

Available on the CAMOUFLAGE album ‘The Singles’ via Polydor Records / Universal Music

http://www.camouflage-music.com/

Text by Chi Ming Lai
3rd January 2015

MAD WORLD BOOK

2 September 2014 / electricityclub

The book ‘Mad World: An Oral History of New Wave Artists and Songs That Defined the 1980s’ is to be formally made available in the UK.

In the book’s foreword by DURAN DURAN’s Nick Rhodes, the flamboyant synth player says: “It was a culture where the predilection was standing out from the crowd rather than fitting in. Artists were musically adventurous, less driven by commerce… While those in their teens and early 20s have a limited musical vocabulary, they remain the key source for change in music”. Concluding in the afterword, Moby states: “New Wave was its own world. With its own influences, its own codes, its own bailiwick(s), its own aesthetics, its own sonic landscape…”

Launched in North America to great acclaim last April, it discusses many of the artists who formed the British Invasion of the US with the advent of MTV; the Americans referred to these types of acts as New Wave.

While not definitive, ‘Mad World: An Oral History of New Wave Artists and Songs That Defined the 1980s’ delves into the spirit, the politics and the heartache behind some of the best songs ever recorded, regardless of genre. The book does bias towards a Stateside viewpoint courtesy of self-confessed Anglophile and Duranie Lori Majewski, but the content is balanced by the critical input of LA based Glaswegian Jonathan Bernstein.

The two met at Spin Magazine during the height of Grunge and found themselves to be kindred spirits as they quietly bonded over Synth Britannia and New Romantics, much to the chagrin of their scruffy, plaid shirted colleagues.

Photo by Paul Natkin

The dynamic between the “sour by nature” and “staunch supporter of the sheer oddball” Scotsman and the “obsessed past the point of sanity” American ensures that ‘Mad World’ celebrates the triumph and innovation of the era while simultaneously pulling no punches. For example, while accepting their places in the book, Bernstein lobs a few hand grenades in the direction of KAJAGOOGOO and THOMPSON TWINS! The pair’s differing viewpoints on the two phases of OMD are another enjoyable discussion point.

‘Mad World’ is ELECTRICITYCLUB.CO.UK’s kind of book… it is affectionate and respectful, but also objective and discerning; this more than makes up for previously feeble attempts by other writers to capture the era by combining acts as disparate as SIMPLE MINDS and JASON DONOVAN into a single volume!

While the Adam ‘n’ Moz laden front cover might indicate otherwise, many of the artists who impacted on the Post-Punk synthesizer boom figure prominently in ‘Mad World’. As well as OMD, DEPECHE MODE, SOFT CELL, ULTRAVOX, NEW ORDER, JOY DIVISION, YAZOO, HEAVEN 17, TEARS FOR FEARS, DURAN DURAN, A-HA, A FLOCK OF SEAGULLS, SIMPLE MINDS, there’s Gary Numan, Thomas Dolby and Howard Jones, there’s also THE NORMAL and the early HUMAN LEAGUE to represent the trailblazers from 1978 who helped define the era.

Daniel Miller describes electronic music like ‘Warm Leatherette’ as “pure punk music” as opposed to “punk rock”, due to it adopting that true punk ideal of do-it-yourself. Meanwhile, Martyn Ware waxes lyrical about the realisation of ‘Being Boiled’… the chapter was to have been about ‘Don’t You Want Me?’ but with Phil Oakey’s continued refusal to give interviews about the past has ensured its omission. At the end of the day, Oakey misses an opportunity to reflect and give his story of the era.

However, Oakey’s contemporaries don’t disappoint; as usual, Andy McCluskey gives great copy and his interview nicely sums up the rise and fall and rise and fall and rise of OMD to highlight the pressures of achieving and maintaining success. And while ‘If You Leave’ from the film ‘Pretty In Pink’ may not be the greatest song he and Paul Humphreys have ever written, it is certainly not their worst and its success in America is a handy pension pot for the duo.

The joy of this book is that even if an act is of no interest musically, the back stories are fascinating and a number have not been widely known. Like did you know that the true origin of the name SPANDAU BALLET is even more unpleasant than JOY DIVISION? Or that ‘True’ was inspired by Gary Kemp’s unrequited relationship with ALTERED IMAGES’ Clare Grogan? Or that DEXY’S MIDNIGHT RUNNERS’ Kevin Rowland is a right miserable sod, but he always has been and always will be!

Meanwhile, the entertaining KAJAGOOGOO chapter proves that like in much of today’s music scene, ego can often exceed inherent talent and actual artistic success. The diva-ish spats between Limahl and Nick Beggs in ‘Mad World’ are almost worth the purchase price alone.

While ‘Mad World’ is full of tales of excess and hedonism, one very interesting chapter is about the clean living and philosophical Howard Jones. While quietly making his fortune in the US, the happily married vegetarian readily admitted to having a wandering eye that inspired his biggest American hit ‘No-One Is To Blame’: “It’s about being attracted to other people and admitting that. You are attracted to maybe half the people you meet, and that isn’t a bad thing. You shouldn’t blame yourself for that… but if you want to consummate that attraction to other people, then you have to be prepared to take what comes with it”.

‘Mad World: An Oral History of New Wave Artists and Songs That Defined the 1980s’ is a terrific read, but there are the odd date errors and what some might consider irritating translations of distinctly British terms for the primarily American audience.

And while the book covers most bases, one important song that is missing is VISAGE’s ‘Fade To Grey’. A complex story in itself, that probably would have made up a book on its own! But overall, these minor aberrations do not spoil what ‘Mad World’ is… the best book so far capturing that MTV era which many like to refer to as ‘The 8*s’ 😉

Following her highly informative interview earlier in the year, co-author Lori Majewski reflected on the Americanisation of New Wave and why certain UK acts came to become more highly regarded in the US than back home…

Why did it seem the only US acts that seemed to ride on that UK synth wave were BERLIN and ANIMOTION?

LA had a very big New Wave scene with MISSING PERSONS, THE GO GOS, THE MOTELS, BERLIN and ANIMOTION but what you have to remember is that it kinda got watered down by the time it got to America. As we say in the book, you had Brits trying to be Germans wanting to be robots, and then Americans who wanted to be British!

So the Americans were already two steps removed from the conception of New Wave. You look at something like BERLIN, so they’re named after the city that inspired New Wave and 6,000 miles away singing about ‘The Metro’ in Paris where they had never even been!

But I think what LA New Wave brought was glamour. First of all, there weren’t a lot of women in New Wave full stop although in the UK, you had Annie Lennox, Alison Moyet and BANANARAMA. So in LA, we had BERLIN’s Terri Nunn who was a model and tried out to be Princess Leia in ‘Star Wars’, there was THE MOTELS’ Martha Davis who was very old school Hollywood glam and THE GO GOS; plus you had MISSING PERSONS’ Dale Bozzio, who was the first woman I ever saw and thought “oh, that’s what a breast implant is” *laughs*

I think in general, Americans put their own spin on New Wave but as Jonathan likes to point out in the book several times, it wasn’t something we exported back to Britain; it was something that we kept here that Brits didn’t really go for.

What did you think about bands like TEARS FOR FEARS, SIMPLE MINDS and THE PSYCHEDLIC FURS tailoring their sound for the American market when their initial charm was sounding British in the first place?

It’s something we talk about in the TEARS FOR FEARS chapter. We forget that TEARS FOR FEARS had the biggest album of the era in ‘Songs From The Big Chair’. Curt Smith talks in the book about how they did consciously move to appeal to a wider audience but also to make a different record to ‘The Hurting’.

They were listening to more American things like Frank Zappa. So they didn’t make a conscious decision to be American, they made a conscious decision NOT to make the first record again… and as you point out, that record was very British. I don’t know if ‘Songs From The Big Chair’ is American sounding, it just not as New Wave sounding.

The Americans really loved THOMPSON TWINS and Howard Jones? What was it about them that appealed Stateside?

Howard Jones did well here but I think he would have made it no matter what decade it was because he wrote classic songs… but he happened to use synthesizers and he had the haircut! When you look at a song like ‘No-One Is To Blame’, it’s a good pop song, period!

As for THOMPSON TWINS, Jonathan knew of their previous incarnation while I did not, so he was suspicious of how they were this art conglomerate that suddenly wanted to be pop stars and on the cover of Smash Hits! I have to say, they were visually arresting and those songs are built to last. You hear ‘Hold Me Now’ today and what an incredible song!

And I always remember that was the first time I thought about couples fighting because the idea that a man will placate a woman and say “you ask if I love you, well what can I say? You know that I do and if this is just one of those games that we play”, and I thought “Oh my God, that’s right… that’s what women do!” *laughs*

So I felt Tom Bailey was a pop star with a romantic side that really appealed to me, especially with the song ‘If You Were Here’ at the end of the John Hughes film ‘Sixteen Candles’, that’s one of my favourite songs from the entire era.

Why do you think acts like A FLOCK OF SEAGULLS, THOMAS DOLBY, WANG CHUNG and NAKED EYES were perhaps more popular in America than Britain?

I think this IS the advent of MTV, you guys in the UK didn’t have it and we did. ‘I Ran’ by A FLOCK OF SEAGULLS was a huge MTV hit, but it only started going up the US charts and being played on radio after people were requesting it because they saw the video on MTV. So they rode a wave that was not available in their own country.

It was the same with NAKED EYES and I love their version of ‘Always Something There To Remind Me’. MTV helped a lot of bands that were using the medium of video to get to an audience.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Lori Majewski

‘Mad World: An Oral History of New Wave Artists and Songs That Defined the 1980s’ is available in the UK from all good bookshops and online retailers

Meanwhile in Brooklyn at Rough Trade NYC on Saturday 14th September 2014, ‘A Mad World Conversation with Midge Ure’ takes place at 5.00pm – details can be found at the Mad World website

http://madworldbook.com

https://www.facebook.com/madworldthebook

Text and Interview by Chi Ming Lai
2nd September 2014

RECOIL A Strange Hour In Budapest – London Premiere with Alan Wilder Q&A

8 December 2012 / electricityclub

Following a successful series of worldwide screenings, RECOIL ‘A Strange Hour In Budapest’ had the first of its UK Cinema premieres at Everyman’s Screen On The Green in Islington.

Its comfortable surroundings provided the ideal setting for this lavish high definition film directed by Attila Herkó. Released earlier this year exclusively on Blu-Ray, in Alan Wilder’s words it was “to supply the most accurate experience of being at the concert”.

Intercut with picturesque views of the Danube city, live footage filmed at the venue and the special projections directed by Steve Fabian, Igor Dvorský & Dmitry Semenov, ‘A Strange Hour In Budapest’ is a powerfully resonant audio/visual document that presents many highlights from Alan Wilder’s career in a concert setting.

In addition to bespoke computer generated graphics, there are illustrations ranging from monochromatic erotica, abstract space photography and austere footage of crashing aircraft. The latter are particularly poignant as they reflect Wilder’s own near death experience when an RAF Tornado jet crashed in front of him while he was on a driving holiday in Scotland back in 1994. Although those shocking memories are musically captured in the track ‘Black Box’ from 2000’s ‘Liquid’ album, that trauma is highlighted in the live presentation with the pulsing Shotgun rendition of ‘Prey’, the tension exasperated by its disturbing images.

Trippy grooves as on the haunting Siobhan Lynch vocalled ‘Drifting’ and the cosmic vibes of the Tangerine Dream sampling ‘Allelujah’ dominate the first part of the show but inevitably, it is the song based material such as ‘Faith Healer’ featuring Nitzer Ebb’s Douglas McCarthy and the reworkings of Depeche Mode that get the Szikra audience into a frenzy, particularly with the Aggro Mix of ‘Never Let Me Down Again’ and the late Johnny Dollar’s superbly powerful Jeep Rock take on ‘In Your Room’.

Incidentally, the sound reproduction throughout the film is outstanding and at times in the cinema, it was actually difficult to distinguish between the applause in the film and that of the audience watching! Other highlights of ‘A Strange Hour In Budapest’ include the grainy projections of Wilder’s live partner Paul Kendall practicing robotics during a great cover of ‘Warm Leatherette’ and a superb mash-up of ‘Jezebel’, the Grungy Gonads Mix of ‘Walking In My Shoes’ and ‘Are Friends Electric?’.

Asked about it by ELECTRICITYCLUB.CO.UK during the post-film Q&A, Wilder replied: “It was when we did the American leg of the tour, I wanted to make a few changes to the set to keep it more interesting having learnt from the first leg of the tour that there was a dip that needing picking up…so I came up with the idea of using ‘Walking in My Shoes’ . At the same time, we were going to play a gig with Gary Numan in Chicago so I thought it be fun to throw that track in and see if he noticed…and he didn’t!!” The cinema cracked up with laughter.

“He watched the set but he didn’t even notice his bit of music in it… ‘Cloth Ears’ I call him,” Wilder affectionately quipped. He added: “’Jezebel’ and ‘Walking In My Shoes’ just happened to fit tempo-wise, I had to change ‘Jezebel’ by a semitone to make it work with the ‘Walking…’ key signature but it worked well”.

Alan Wilder’s Q&A was an entertaining experience with him superbly articulating his thoughts and views. “No! I’m not going back to Depeche Mode!” he announced, setting the scene. On the subject of the loudness war, he was also forthright: “Just turn the volume knob up!” But on the future of RECOIL though, he was less specific: “All I know is I want to make some new music but whether it’s for an album, I’m just not sure because the concept of albums seems to be something people are losing interest in and they way people are listening to music is changing…I would like to work with film, a couple of people have approached me about that”.

When Keith Trigwell from Depeche Mode tribute band SPEAK & SPELL mentioned how 2011’s auction sharing Wilder’s memorabilia connected with the fans, he candidly answered: “Shared?!? I’d like to share my stuff with you…for this much!”

Wilder’s honesty is one of his many traits that have made him such a revered and respected figure in the music scene. However, some present seemed rather perturbed when Wilder gave answers that perhaps they didn’t want to hear.

On BECK’s new album campaign where fans have been recording their own backing tracks via sheet music provided online, he observantly commented: “It’s up it’s a*se isn’t it? How easy a life does he want?” However, he did concur that he is always open to exploring innovative ways for musicians to connect with their fanbase.

On the move away from hardware synths to software, he replied: “I’m not that nostalgic… we were struggling to get clicks to synch together and would spend three days on something that you can do in five minutes on a computer now…some of these plug-ins are amazing and stay in tune! Let’s not get over nostalgic about the past…but there are some great bits of vintage gear of course”.

On the studio process and how adversity can produce great music, he remembered ‘In Your Room’ as being “a tough track to record”, eventually being a combination of three different versions. By the opposite token though, ‘Enjoy The Silence’ “came together (like that) within a couple of hours”, the bassline achieved simply by playing around with a sequencer.

What was less enthralling during the evening however were some of the more inane lines of questioning by attendees who seemed to be more interested in talking as much as possible while NOT actually listening to the replies of the evening’s humble host. Wilder rightfully called it “random cr*p”. There is an etiquette to these things and sorry, “’Construction Time Again’, how exciting was that!” is NOT a great question!

But despite this, there was a warm family atmosphere with Wilder being the consummate professional, answering questions intelligently and with humour throughout. Figures from the DM fan community such as Deb Danahay and all four members of SPEAK & SPELL mingled alongside fans while Mr Wilder gave his time to everyone readily and happily. It was a memorable evening for all concerned and a fascinating selected event to boot…

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Alan Wilder

‘A Strange Hour In Budapest’ is released on Blu-ray by Shunt Production in conjunction with Umatik Entertainment. Please see www.store.recoil.co.uk for full product details.

http://www.recoil.co.uk/

https://www.facebook.com/recoilofficial/

https://twitter.com/recoilofficial

Text and photos by Chi Ming Lai
8th December 2012

Innocent Bystander: The Legacy of FAD GADGET

29 March 2012 / electricityclub

Frank Tovey – otherwise and more famously known as FAD GADGET – was one of the nearly acts in the rise of synthesiser music.

Whilst his releases garnered much in the way of media attention, the magic translation to commercial success which happened for a number of his electronic peers, eluded him.

And yet, at the same time, FAD GADGET was one of the most influential acts from the post-punk scene. Despite his lack of chart success, FAD GADGET was a precursor and inspiration to the synthpop, EBM, industrial, and techno scenes that followed later in the decade, and most notably a significant influence on DEPECHE MODE.

April 2012 marks the 10th anniversary of the death of Frank Tovey, and also the forthcoming release of a retrospective collection of his best work, so what better time to take a look back at the life of one on Britain’s less feted synth pioneers? Certainly we can think of none more deserving of greater attention.

Francis John Tovey, the man behind the FAD GADGET persona, was born in East London on 8th September 1956.

His father had a shellfish shop in Bow where the young Frank would work on Saturdays to earn his pocket money. He saved up to buy his first musical instruments, a flute, a violin, and an electric piano, but his early forays into music were none too successful, he himself saying in an interview with The Face in 1980 that “As soon as I’d learnt three notes, I’d get bored and give them up”. Frank’s early exposure to the likes of T-REX, DAVID BOWIE, LOU REED and IGGY POP led him – and countless others – to join a few bands, but he soon became frustrated with what he saw as his lack of musical ability and failure to master any musical instrument.

He went to St Martin’s College of Art in 1974 and, subsequently, enrolled at Leeds Polytechnic. He developed an interest in performance art, apparently the only student in his year to specialise in performance, becoming heavily interested in mime in a way only a post punk artist could without laughing!

One fellow student was Marc Almond, soon to be of SOFT CELL: “I remember Frank fondly from our days at Leeds Poly in the late 70’s, as being both a friend and an inspiration. I always felt we were kindred spirits. We were inspired by similar things, came from much the same world and were in many ways, even then, outsiders. Frank brought all he had learnt from the legendary Lindsey Kemp into the classes and I was eager to learn from him”.

After graduating in 1978 Frank returned to London where he took up a series of dead-end jobs to support himself as he developed his interests in performance art.

Initially he wanted to make music to accompany his mime, so bought a humble set up: a tape recorder, a small Korg drum machine, and an electronic piano, and set them up in a cupboard in the house he was sharing with his girlfriend and some others.

This cupboard was the site of his first demos, including early versions FAD GADGET’s first single and B-side, ‘Back To Nature’ and ‘The Box’, the latter inspired by the claustrophobic atmosphere of recording in the airless dark space of the cupboard.

Frank’s housemate Edwin Pouncey was friends with Daniel Miller, who had just recorded and released as THE NORMAL, the single ‘TVOD’ / ‘Warm Leatherette’ on his own label, Mute Records. Although apparently Miller had no plans to become a proper label or release any other records, he was persuaded by Pouncey to listen to Frank’s demo tape and to meet with him.

Frank recalls how he was initially due to meet with Miller at a gig of THE MONOCHROME SET, but due to an unfortunate set of circumstances involving too much beer and THE MONOCHROME SET drum kit, the meeting didn’t take place until later at Rough Trade’s offices. Miller was apparently blown away by Frank’s demo tape and immediately offered to release a single. Frank chose to release it under the name FAD GADGET, later saying in an interview in 1982 with Paul Morley that it was intended to sound throwaway, disposable.

And so in September 1979, the ‘Back to Nature’ single was released, and became an underground classic, being played in the same kind of clubs as contemporaries such as THE HUMAN LEAGUE, THROBBING GRISTLE, CABARET VOLTAIRE, JOHN FOXX and GARY NUMAN (the latter having already had chart success with TUBEWAY ARMY and the single ‘Are Friends Electric?’ – it was around this time that FAD GADGET began performing live. Early gigs were apparently not entirely successful, Frank himself saying in an interview that he remembered one early gig at a holiday camp in Bognor supporting THE MONOCHROME SET (yes them again) where he performed to an audience of three.

However, the FAD GADGET stage persona was honed at these early gigs; later gigs would feature Frank stripping himself naked and covering himself in shaving cream to accompany his song ‘Ladyshave’, or showering the front rows of the audience with his own torn-out pubic hair. He also began to use implements like electric drills in his performance, to the great pleasure of his father, who allegedly would tell his friends that his drill was featured in Frank’s music!.

Notably, one early audience member was Dave Gahan of DEPECHE MODE, who of course would go on to become label mates and notably support FAD GADGET in one of their own early gigs at the Bridgehouse in Canning Town. Furthermore, of course, some of FAD GADGET’s last gigs before Frank’s death were supporting DEPECHE MODE on their ‘Exciter’ tour.

Frank went on to record and release the second FAD GADGET single, ‘Ricky’s Hand’ in March 1980, a cautionary tale about a drunk driver who crashes and maims himself, (featuring the strains of Frank’s father’s electric drill), followed by a third single ‘Fireside Favourite’ and the first album ‘Fireside Favourites’ in September 1980. This proved to be an independent chart hit and Tovey toured Europe and the United States before returning to record a follow up album, ‘Incontinent’, the title and the lyrical content referring to his experiences in, and observations of, the USA.

The cover features a particularly memorable photograph of Frank dressed as the children’s puppet show anti-hero Mr Punch, a figure that had apparently entranced him as a child and that he felt fitted the brutal nature of the times and of his observations of American culture. Also for this album, Frank began to incorporate real musical instruments and rely less heavily on found sound and synthesis. To promote the album, FAD GADGET went on tour across the UK supporting the then-massive TOYAH, and released a series of singles, again garnering favourable press coverage, but again also failing to trouble the mainstream top 40.

Despite, or perhaps because of this, Frank went on to record a third FAD GADGET album, ‘Under the Flag’, at Blackwing Studios in London, featuring YAZOO’s Alison Moyet guesting on the single ‘For Whom the Bells Toll’. The FAD GADGET stage persona began to unravel around this time, Frank injuring himself in some way at practically every gig, culminating in a stage dive in Amsterdam in which he snapped tendons in both ankles.

The lyrics for the ‘Under The Flag’ album were written around the time of the Falklands conflict and were influenced by the reporting of the time, and also, by the recession and social fragmentation evident in Thatcher’s Britain. Frank returned to a more electronic sound on this album, heavily using the then new Roland MC4 Microcomposer sequencer.

Positive reviews of the album and accompanying first single ‘Life On The Line’ led to an appearance on the newly-launched Channel Four and a slot supporting DEPECHE MODE at their Christmas show on 23rd December 1982. Frank and his band then embarked on a quite extensive tour.

1983 was a relatively quiet year for Frank, with just the single ‘I Discover Love’ being released, once again Frank showing a change of sound back to the more acoustic, electronics being eschewed in favour of piano. However, at the end of the year he, like many British artists before him, made a creative and psychologically significant move to Berlin to record his next album at Hansa Tonstudio, then recent home to DEPECHE MODE who had successfully mixed the ‘Construction Time Again’ album and recorded ‘Some Great Reward’ there.

The first single ‘Collapsing New People’ had a title referencing, and featured percussion from, German Industrial pioneers EINSTURZENDE NEUBAUTEN who were recording at Hansa at the same time. February 1984 saw the release of the last FAD GADGET album, ‘Gag’, the cover featuring an Anton Corbijn photograph of a tarred and feathered Tovey.

Once again the sound was a mesh between the synthetic and the more organic, once again the reviews were, on the whole, positive, and once again, commercial success failed to materialise for FAD GADGET.

Following a couple of single releases, Frank decided to retire the name and continue to record under his own name. The ensuing period of ‘Frank Tovey’ releases is either seen by his fans as his best, or an irrelevance. Certainly, it is a world away from the icy groove of his earlier releases, embracing even acoustic folk. For the purposes of the FAD GADGET story, we skip forward to the Millenium’s beginning – the year 2000. Frank, who had at that time been producing a band called TEMPLE X, was persuaded to perform a one-off gig as FAD GADGET with TEMPLE X being his backing band.

The gig at London’s Elektrowerkz was attended by some of the members of DEPECHE MODE, who talked him into supporting them on the European leg of their Exciter tour, playing in front of and being well received by arena crowds for the first time ever, one gig of which we were lucky enough to have attended.

The success of the support slot for the Mode led Frank to rekindle his interest. A ‘Best Of’ collection was released and Frank was back writing and beginning to record what would have been new FAD GADGET material. However, the story has an unhappy end as, on 3rd April 2002, Frank died suddenly of a heart attack at the young age of 45, having suffered from chronic heart problems since childhood.

Mortality had never been far from the mind of Tovey, and in fact his on-stage entropic character tapped and communicated that frailty, those anxieties. Tovey’s creativity was far from exhausted or fully realised, and he was certainly taken from the world criminally early.

Remembering and respecting the subversive genius of FAD GADGET.

Dedicated to the memory of Frank Tovey 1956-2002

‘The Best of Fad Gadget’ is released by Mute Records

http://www.fadgadget.co.uk/

http://mute.com/artists/fad-gadget

Text by Mike Cooper and Nix Lowrey
30th March 2012, updated 4th April 2018

Tag: Daniel Miller (Page 6 of 7)

The Electronic Legacy of MUTE RECORDS

25 SYNTH SINGLES THAT SHOULD HAVE BEEN HITS

MAD WORLD BOOK

RECOIL A Strange Hour In Budapest – London Premiere with Alan Wilder Q&A

Innocent Bystander: The Legacy of FAD GADGET

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