Tag: Dave Ball (Page 4 of 4)

Vintage Synth Trumps with FICTION STUDIOS

18 August 2017 /

Fiction Studios is a boutique recording studio located right in the heart of London, fully equipped for recording, mixing and mastering while also available to hire for Voiceover and ADR recording.

The studio was set up by brothers Dominic and Nathan Cooper in 2016; Cooper is best known for his role in the film adaptation of ‘Mamma Mia’ while Nathan was a member of THE MODERN and today performs as KID KASIO.

Combining Dominic’s experience in the acting field and Nathan’s background in music production, the air conditioned studio caters for bands, musicians and voiceover artists. The studio also features an array of classic analogue gear which ELECTRICITYCLUB.CO.UK decided would be a good reason to visit and challenge Nathan Cooper to a round of Vintage Synth Trumps…

First card today and it’s a Korg Mono/Poly…

I’ve got the plug-in! My friend’s got a Mono/Poly and he swears by it, we were in a band together when we were young…

…I thought you were young? 😉

Yeah! *coughs*

His name’s Gabriel Prokofiev, we both got into synths at primary school and we’ve both built up a collection over the years. I’m quite jealous of his collection, there’s a few he’s got that I haven’t and the Mono/Poly is one of them.

What was the first synth you owned?

It depends if you want the first good one or the first keyboard? My first keyboard was a Yamaha PSS-110, I found one again recently on eBay and thought I’d buy it on a whim… it’s awful! It’s got these samples of a dog bark and cat meow and what’s supposed to be a cuckoo! *laughs*

So it was more like a toy?

Yes, so I followed that up with a Casio SK1 when I was about 10-11 which had a sampling thing in it, so that you could burp into it and play ‘Happy Birthday’ out of burps! *laughs*

But my first proper synth was when I was 14, I begged my mum to buy me what I wanted, which was a Roland Juno 60. In those days, you went to ‘Loot’ magazine… this was at a time when they were really cheap because everyone wanted a Roland D50 or Korg M1.

I would say it’s the same one I own now, but it isn’t… sadly in the early 90s, I was recording in Ezee Studios with Toyah and MARILLION’s producer Nick Tauber. He told me to leave the synth there as we’d be back in a couple of weeks. But the session got put back and put back and we didn’t go back for nearly a year, so when I finally returned it was gone! I was heartbroken! A lot of people just stared blankly when I asked where it was, we couldn’t trace where it had gone. The one I replaced it with, I’ve had now for a fair amount of time.

The Juno 60 is a robust old thing isn’t it?

Every synth I have at Fiction Studios has at some point, needed to be completely refurbished, apart from the Juno. It never goes out of tune! The only thing that ever happened to it, was when I was touring with THE MODERN and I snapped one of the keys while I was loading it back onto the van. It was after a horrific gig at an indie venue called ‘Filthy McNasty’s’ which was where THE LIBERTINES were signed, so God knows what we were doing there! *laughs*

What I really wanted was an Oberheim or a Jupiter 8, but that was out of my range, so the Juno fitted in the budget for a birthday present. I know Howard Jones used one and it was analogue so that was it.

OK, next card!! What are the chances, it’s a Juno 60!!! *laughs*

When I set up Fiction Studios, I was lucky to be loaned some of my dream synths like the Oberheim OBXa. I also have the Prophet 5 which I saved up for ages for, but having said that, the go-to synth is still the Juno 60, it’s still used in my KID KASIO stuff more than anything else.

Maybe it’s because I know it so well and all the patches on it were programmed by me, but there’s something about the interface on it, it’s just so easy to manipulate, it does what you want it to do, to fit into the track. Having said that, you get less happy mistakes with it though. I guess because I know all the sounds on it so well, so it rarely does anything that truly surprises.

Now, here’s a monster on the next card, a Yamaha CS80!!

That’s the dream isn’t it? I’d love one! I have the Arturia softsynth version. I always think of VANGELIS, the ‘Blade Runner’ soundtrack and Stevie Wonder who used it a lot. It’s one of those synths that’s got a ‘sound’ to it with that ribbon controller.

The ribbon controller is an interesting point as the Polymoog had one too and I’m assuming that kind of controllability is very difficult to simulate using software?

Yeah, totally! It’s why I use as much hardware stuff as I can because when I’m using mod wheels, pitch bends and stuff, I’ll programme the part in MIDI and then have the part playing through the synth while tweaking it and then I’ll record the sound onto the computer, adding any kind of modulation manually. Because you’ve got that tiny bit of human touch to it, that is what people kind of connect to. Although it’s still synths, it’s got some human authenticity to it. You can use pitch bend and stuff with softsynths but you don’t get that same interaction. And I think that can make or break a sound sometimes.

I remember on one of my KID KASIO tracks ‘Full Moon Blue’, I was using a harmonica sound from a Yamaha DX7 but it wasn’t quite sounding right, and everyone said I needed to use a breath control; so you put this thing in your mouth and plug it into the back of the synth and it will change the sound as you blow. I love things being electronic and mechanical but sometimes if you add something like that, it adds that human element to it. There’s something about humans AND machines.

So why set up a studio when today, someone can grab hold of a laptop, get GarageBand and do everything there? Why does anyone out there need somewhere like Fiction Studios?

Good question… because many softsynths are now based on old analogue ones, it’s got people hankering after the authentic sound, even though softsynths do a really great job.

I think most people are aware the original sounds are better, but people can’t get their hands on them and they are expensive these days; a lot of people don’t have the room for them as well.

So in the current environment where synthpop is popular, there is a market for people coming in and wanting to play around with the old synths and run their ideas through some classic analogue flagship gear. It’s nice in that sense that people can do that. Some people often just want another pair of ears so if people want me to produce something, I can listen to what they’ve done and steer it in a certain direction.

Modern music has become very inward because of home recording…

Yes, it’s become very introspective. You can get something sounding good on GarageBand and get it up to a professional level but you always need someone else, that’s why all KID KASIO albums are mixed by Adrian Hall because I need that extra pair of ears, he can hear stuff that’s clogging up the track that I’ve been too entrenched in to notice.

So that’s why a studio with an in-house engineer or producer is great to make professional sounding tracks, or they can use the synths to produce their own stuff.

How did your most recent single ‘Drive (Some Kind Of Love)’ come about?

It was inspired by the film ‘Drive’ which came out in 2011; I’d just finished doing the ‘Tamara Drew’ soundtrack with Ben Todd and ‘Drive’ really blew us both away. We thought it would be great to write a song that could stylistically fit into the film. We performed it live and realised it went down pretty well. So that’s why I decided to release it.

When it was being mixed, I gave Adrian some reference points which were ‘The Boys Of Summer’ by Don Henley and ‘You’re The Voice’ by John Farnham. The track had this American vibe to it which a lot of my stuff doesn’t have, my sound is very Synth Britannia but for some reason, ‘Drive (Some Kind Of Love)’ just had this MISTER MISTER element to it!

I envisaged the video being filmed on an American highway in an open top car, but it ended up being done in London with me driving around in my Reliant Scimitar classic car and the video came out ok *laughs*

Looking at Fiction Studios, I’m amazed how spacious it is… what did you have in mind when you chose this location?

It is right in the heart of London, very few studios are now, normally you have to go to the East of London or the trendier parts, this is slap bang central. I was looking for a space with my brother and his accountants have got a firm on the fifth floor of this building. He mentioned to them he was looking for a location to set up a studio and they suggested their store room in the basement.

We came down to have a look and it was not what you would expect an accountancy firm’s store room to look… there were boxes of files but because this firm looked after actors, models and people in the entertainment industry, there was all this weird stuff there.

I was looking around and there were MTV and Nickelodean Awards for ONE DIRECTION!! The firm represented them! So there was a pile of their tour clothes and what was really sad was all their stuff that fans had given them was here! So there was this huge great portrait of Harry Styles staring at me that some fan had spent ages drawing! And it was down there gathering dust! *laughs*

Anyway, I noticed a library area that looked something out of Hogwarts from ‘Harry Potter’ and it was set up originally as a film set but never got round to being used. They offered to move it but I said not to as I could imagine bands hanging out in this bit because it had a really nice vibe.

The brickwork and features are all fake, but the 6000 old books are real! Occasionally you’ll pick a book out and it’ll be from the 1850s. So it’s great for inspiration, and what I’ve found I’ve done recently is I’ve been tidying up, looked up at the shelves and see the spine of a book that has the title of a song I’ve just written! It’s very weird!

And there’s no curfew or restrictions on the time of day an act can use the studio?

No, people have booked Fiction Studios until very late at night and it has 24 hour concierge so you can come and go when you please.

You have your synths but you are equipped to record acoustically as well, was this important in the viability of the studio?

Yes, the drum kit has been put near the library area. I would happily just set it up as a synth studio but I was looking into this as a business, so I didn’t want to close it off and make it accessible to everyone. And it’s worked the other way, I haven’t really had enough synth acts in here! I’ve had indie bands, opera singers and everything here so it’s been really interesting *laughs*

So, time for another card, an Oberheim 2 Voice…

I haven’t got a 2 Voice but I’ve been really lucky recently to accquire an OBXa, which was one of my dream wants because I’m a big fan of Richard Barbieri from JAPAN, where they used the similar OBX and Prophet 5. There’s just a sound about the OB series; since getting one I’ve actually come to really respect Richard Barbieri’s work because it’s not as easy as turning it on and having those sounds.

You can find them when you tweak but it’s hard, and makes me realise he was a bit of a genius when it came to that stuff. How I came to acquire it is one of those funny things, I was at a party and I got chatting to a guy called Ian Merrylees who is a TV Editor.

He said “I’ve got a few synths at home”. Now nine times out of ten with these types of conversations, it turns out the synth is a Casiotone… so I asked him what they were and he said “one’s an Oberheim” and I’m like “WHAT?”

It had been in his loft for fifteen years… so I went round to his house to have a look, and not only did he have an OBXa, but he had a Prophet T8 as well! He wanted to see them used, and he very kindly loaned them to Fiction Studios, although they needed loads of servicing… I needed about four people to carry the T8 into the car, it’s a real monster! *laughs*

What other synths do you have here at Fiction Studios?

As well at the Oberheim OBXa, Prophet 5 and Prophet T8, there’s a Crumar Performer which after the Juno 60 is my most used synth, the SH101, Yamaha DX7, Korg MS2000, Korg DS8 and a Korg Poly 800 which my band mate Chi in THE MODERN found in a skip!

My most recent addition to the synth armoury was from when Roland came down to the studio and were impressed with the look. So the deal is they will lend us anything if they can film in here every now and then, so I have been lent a Roland JDXa which Nick Rhodes of DURAN DURAN spearheads the campaign for. It has a really nice interface, it looks amazing.

It’s great for live because unlike the old analogues where you need a torch because you can’t see the controls, this has everything lit up really nicely and there are in-built effects so everything sounds nice straight out of the box.

You have two mixing desks here?

One is for bands to use when they rehearse in the live area, it’s an old Datum series made by Hill Audio who provided the desks for Live Aid.

I was keen on having an old analogue desk, so I got this Soundtracs IL36 32 channel mixer from a friend of mine who was downsizing. That’s the thing about these desks nowadays, no-one wants them, my friend just wanted it taken away, it took five people to lift it! But I love it because it’s got a great sound to the EQs, I run all my synths through it. I have a nice Focusrite pre-amp so that it sounds like those old Neve desks, it’s got a beautiful analogue sound.

I use Logic to record but if people want to use Pro-Tools, they can. I have a nice Neumann U87 microphone and an Avalon pre-amp so you can get a good vocal chain. The monitoring uses Genelec speakers so it’s all here for people if they want it.

Another card, an ARP Odyssey…

I was this close to getting the Korg remake last year and then the studio came up. So when there was the offer of these other synths and I was getting the studio set-up, I had to spend my money on other things. I’d like to get one because ULTRAVOX used it…

…you know Billy Currie’s just sold his?

Did he? Why would you sell it?

He did sell it for £8500!

Ah! That’s why you’d sell it! *laughs*

How much is the remake by Korg?

Don’t quote me on this, but I think it’s about £700 so it’s a lot cheaper than buying an old one and it’s got MIDI.

Now I see here you have a tape recorder AND a drum machine… *laughs*

The tape recorder is all rigged up and came into use recently. Dave Ball from SOFT CELL came in with some old ¼ inch tapes of demos recorded when he and Marc Almond were at Leeds Polytechnic. He wanted to find out what was on them in case there was any other stuff that hadn’t been heard before, and there was!

That was a great experience, he’s such a nice guy and one of my idols, so to sit there and go through this stuff first hand was amazing, This early stuff was almost punk and really out there lyrically, it was amazing how simplistic some of the synth lines were, that’s the beauty of them. The Oberheim DMX was kindly donated by a friend, I must give it back to him soon as I’ve had it for about ten years *laughs*

It’s got a brilliant kick drum, snare and clap sound which I use in almost everything I do but I tend to sample it rather than use it as a drum machine.

There are modern drum machines like the Roland TR8, but most people just use software, so is there a place for drum machines in recording today?

I think there probably is, but I still use loops quite a lot. Most people will use a programme in Logic for drum sounds called Battery where you can load up whatever vintage drum machine you want and play it on the keys of a synth, layering up the percussion framework into the computer.

I like the inspiration you can get from loops, I use a company that supplies them and you can pick one out by year. When you buy a particular year like say 1982, they send you a pack of a hundred loops played on the popular drum machines of that year in various tempos and stuff. So what I invariably do is use that as a basis and layer the sounds up with real ones from the DMX or a sample from a 12 inch single. The great thing about the DMX is that you can open it up and tune up each drum to the song via the dials inside.

When it comes to using a drum machine to programme, it’s quite fiddly and you end up recording it back into the computer anyway, so it’s a bit pointless. But it is nice to have it hands on.

Final card, it’s the Polymoog…

People say I haven’t got any Moogs in the studio but they’re one of those makes that I never got into. I want one, partly because Howard Jones had a Moog Prodigy but when I was young, I always associated Moog with the more proggy end of music and it sort of put me off *laughs*

It’s funny because Rodney Cromwell admits he’s “a Moog Snob”…

I guess it’s the difference between 1977-1980 which is more the lo-fi era of electronics where he comes from musically, while my stuff fits more into the more later end of synthpop 1982-1983…

Ah, the digitally stabilised analogue period…

Yeah, exactly *laughs*

Having said that, if anyone wants to donate a Moog synth? I do have all the Moog plug-ins but it’s just been one of those things.

So what are you up to at the moment musically?

Apart from producing an array of acts here at Fiction, I’m planning the video to the final release from my KID KASIO ‘Sit & Wait’ album. It’s going to be made up of old footage of me in bands from the 90s.

Also I’m putting the final touches to an EP of cover versions I’m releasing next year. And busy writing and recording for my third KID KASIO album.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Nathan Cooper and Fiction Studios

Fiction Studios is based at 22-24 Ely Place, London EC1N 6TE United Kingdom – for further information, please phone +44(0) 207 831 8177 or visit their website at http://www.fictionstudioslondon.com/

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Vintage Synth Trumps is a card game by GForce that features 52 classic synthesizers

Text and Interview by Chi Ming Lai
18th August 2017, updated 11th February 2021

MARC ALMOND + SOFT CELL Hits & Pieces

17 March 2017 /

‘Hits & Pieces’ celebrates the career of MARC ALMOND, one of the most prolific and subversive artists of the last four decades.

Almond once said that for an artist to be “truly subversive”, they had to have “access to the mainstream”. Making his name in SOFT CELL with Dave Ball, the duo were undoubtedly ahead of their time and set the blueprint for acts such as PET SHOP BOYS and ERASURE.

With their stark synthesizer driven pop, Almond and Ball became Top 40 chart regulars between 1981-84 and the double CD contains no less than nine SOFT CELL singles including the hypnotic proto-house of ‘Memorabilia’ and the emotive brilliance of ‘Say Hello Wave Goodbye’.

Almond excelled at reinterpretation and covers of Northern Soul favourites like ‘Tainted Love’, ‘Where Did Our Love Go?’, ‘What’ and ‘Down In The Subway’ set the tone for some ambitious projects like French chanson and Russian folk in later years.

But despite having hits with their own compositions like ‘Bedsitter’ and ‘Torch’, all was not well in the SOFT CELL camp. As their art school ethos clashed with commercial success, the pair imploded and this state of mind was suitably documented by the frantic percussive paranoia of ‘Soul Inside’.

Even before this, Almond was tiring of the electronic pop sound that made him famous. He began to embrace a classic European cabaret style, and this move was highlighted by ‘Black Heart’, a tremendously passionate single by his side project MARC & THE MAMBAS.

It eventually led to Almond’s first solo record ‘Vermin in Ermine’ in 1984 but perhaps surprisingly, none of this album is represented on Hits & Pieces’, with ‘Tenderness Is A Weakness’ the most missed. This was a period when Almond was losing sales momentum, but with a move to Virgin Records in 1985, ‘Stories Of Johnny’ became an unexpected Top 30 hit.

And so began a mainstream renaissance for Almond with ‘Tears Run Rings’ getting him back onto ‘Top Of The Pops’ , followed by a No1 in ‘Something’s Gotten Hold Of My Heart’ with the late Gene Pitney. This paved the way for the brilliance of ‘A Lover Spurned’ and ‘The Desperate Hours’, both songs showing Almond was more than well-suited to the grand overtures of hi-tech production.

And so it was that with Trevor Horn at the helm, that another imperial phase began with more electro-orchestrated covers in ‘Jacky’ and ‘The Days Of Pearly Spencer’ plus a reunion with Dave Ball on the wonderfully over-the-top ‘My Hand Over My Heart’ on which Almond demonstrated his fabulously forlorn romanticism.

However, just as it looked like Almond was to consolidate his position as a commercially successful but credible artist, he stole defeat from the jaws of victory with the schizophrenic ‘Fantastic Star’ album in 1996. ‘Hits & Pieces’ features far too many singles from this period, although ‘Child Star’ is a classic Almond ballad, while ‘The Idol’ is a fun glam rock tribute to Bowie and Bolan.

But as the boy who came back, Almond got back on track with new management and one very welcome inclusion on ‘Hits & Misses’ is 2001’s ‘Glorious’. An appropriately titled electronic torch song, it combined his distinctive vocal histrionics with a big sounding production. Around this time, Almond reunited with Dave Ball as SOFT CELL for the ‘Cruelty Without Beauty’ album, but with Almond now declaring this reunion “a terrible mistake”, neither of the two singles ‘Monoculture’ or ‘The Night’ make the tracklisting which is a shame, but understandable.

However, one of the joys of ‘Hits & Pieces’ is that it provides a platform for Almond’s most recent material. Proving he still has that endearing quality, 2014’s ‘The Dancing Marquis’ in particular, produced by Tony Visconti, is like a more fully realised version of ‘The Idol’. Developing its thumping Schaffel motif on ‘Bad To Me’ co–written with Chris Braide, Almond is fully reinvigorated as the flamboyant tattooed pop diva. Bringing things fully up to date, the new single ‘A Kind Of Love’ is a wonderful optimistic statement that romantic liaisons don’t have to be tainted after all and that we can all be nice to each other, whatever our desires.

There are no quibbles with the track selection, maybe preferences for Almond’s work with SYSTEM F, T-TOTAL and STARCLUSTER to substitute inclusions such as the big band live rendition of ‘Tainted Love’ with Jools Holland and the over representation of ‘Fantastic Star’. But otherwise, this collection does what it says on the tin.

Marc Almond and his fabulous career of ups and downs and ups and downs and ups has become engrained into the fabric of popular culture. Spanning a period of 36 years, ‘Hits & Misses’ is testament that he remains vital as ever and as important as Jacques Brel, Scott Walker or Lou Reed.

With thanks to Stuart Kirkham at Hall Or Nothing

‘Hits & Pieces’ is released by Universal Music as a single CD, double CD and download

MARC ALMOND’s ‘Hits & Pieces’ 2017 tour includes: London Roundhouse (22nd March), Perth Concert Hall (25th March), York Barbican Centre (26th March), Buxton Opera House (27th March), Warrington Pyramid & Parr Hall (28th March)

http://www.marcalmond.co.uk/

https://www.facebook.com/MarcAlmondOfficial

http://www.softcell.co.uk

https://www.facebook.com/softcellband/

Text by Chi Ming Lai
17th March 2017

DAVE BALL Interview

10 March 2016 /

Dave Ball is best known as the musical genius of SOFT CELL.

Together with Marc Almond, they recorded ‘Tainted Love’, a marvellous hybrid of Northern Soul and KRAFTWERK that was possibly Synth Britannia’s first true crossover song. It started a run of hit singles that ensured SOFT CELL would be Top 40 chart fixtures for the next three years. Their self-released ‘Mutant Moments’ EP in 1980 came to the attention of DJ Stevo Pearce, who had been compiling “futurist” charts for the music papers Record Mirror and Sounds.

Stevo gathered a number of fledgling acts like DEPECHE MODE, BLANCMANGE, B-MOVIE and THE THE who appeared alongside SOFT CELL on the independently produced ‘Some Bizzare Album’ compilation in 1981.

This eventually led to SOFT CELL signing to Phonogram Records. After ‘Tainted Love’, a cover of a Northern Soul favourite by Gloria Jones, became a UK No1 in September 1981, Ball and Almond became unlikely pin-ups with poster spreads in ‘Smash Hits’. The follow-up single ‘Bedsitter’ reached No 4 and proved SOFT CELL could have hit singles with their own material.

Meanwhile, a further three Top 3 hits came with ‘Say Hello Wave Goodbye’, ‘Torch’ and ‘What’ during what could be now considered as SOFT CELL’s imperial phase, a period which undoubtedly broke down barriers and paved the way for many of the acts who followed, like PET SHOP BOYS, ERASURE, BRONSKI BEAT and FRANKIE GOES TO HOLLYWOOD.

However, as former art students who had met at Leeds Polytechnic, commercial success and pop stardom did not sit well with Ball and Almond; inevitably, the pair began to implode. SOFT CELL disbanded in 1984 but while Almond went solo, Ball eventually found solace in the burgeoning house scene.

With his new musical partner Richard Norris, he found success as THE GRID. Their debut album ‘Electric Head’ proved to be quite influential, with Canadian DJ Tiga probably one of the artists who owe a debt to its timeless musical template. Around this time, Ball began collaborating with Marc Almond again. The results ended up on ‘Tenement Symphony’, possibly the most mainstream recording of Almond’s career. This eventually led to a full SOFT CELL reunion in 2001 and the album ‘Cruelty Without Beauty’ in 2002.

Following an impromptu meeting at a recent Wolfgang Flür gig Under The Bridge in Chelsea, Dave Ball kindly agreed to a chat with ELECTRICITYCLUB.CO.UK about his career with SOFT CELL, THE GRID and more.

What inspired you to adopt synthesizers as your tools of expression, rather than guitars?

I first started out as a guitar player but I wasn’t good enough and after hearing ‘Autobahn’ by KRAFTWERK, I decided I was more interested in the possibilities of synthesizers, so I part-exchanged my Fender Telecaster for a second hand synth.

Which were your first couple of synth and drum machine purchases?

My first synth was a Mini Korg 800DV, followed by a Korg Synthe-Bass SB-100 and I had Rhythm Master drum machine that played presets like Bossa Nova, then I got a Boss Dr Rhythm which was programmable.

One of the key instruments in the SOFT CELL sound was the Korg Synthe-Bass SB-100, a little two octave synth which no-one else appeared to use.

The SB-100 was great because it was specifically a bass instrument, although the twangy topline on ‘Bedsitter’ is made on that instrument using the two pitchbend buttons. The B52s are the only other group I know of that also used that keyboard.

I’ve always been interested in how you connected your love of Northern Soul with your rhythm structures for SOFT CELL, particularly once you’d acquired the Roland TR808?

I would say the only similarity was to do with the tempo of Northern Soul and our faster numbers. On ‘Tainted Love’ I used a Roland Compurhythm CR78 drum machine, I first used a TR808 on ‘Bedsitter’, the follow-up single. I think that was possibly the first record in the UK Top 10 to use an 808.

SOFT CELL self-released ‘Mutant Moments’ which brought you to the attention of Some Bizzare and the inclusion of ‘The Girl With The Patent Leather Face’ on the subsequent era defining compilation. Do you have any key amusing memories of that period and those ‘Some Bizzare Evenings’ playing live alongside DEPECHE MODE, BLANCMANGE, THE THE and B-MOVIE etc?

They weren’t amusing at the time I assure you although I can laugh about them now. When we played with DEPECHE MODE, it was at a club called Crocs in Rayleigh and they were the house band so they were our support act, believe it or not. They were really tight and played really well and I was very nervous about going on after them as various members of ULTRAVOX, VISAGE, SPANDAU BALLET had come down from London to check us out. We played maybe the worst gig of our careers, the crowd were chucking pennies at us and laughing at us. That was when we realised we had to get our shit together or think about getting day jobs.

‘Non-Stop Erotic Cabaret’ is still much talked about and certainly was a better debut than say, DEPECHE MODE’s ‘Speak & Spell’. How do you yourself look back on it today in the pantheon of classic synthpop?

I think it was the result of working on loads of songs together for two years solid and we seemed to catch the zeitgeist – it was very of its time and I think the S&M references helped. It was quite dangerous imagery for a pop band. It took DEPECHE MODE a few years before they got into the black leather and druggy stuff that we were into from day one.

By ‘The Art Of Falling Apart’, you had expanded the instrumental palette to include guitar and bass plus early samplers and digital drum machines.

I think we were trying to sound heavier and slightly rockier. In retrospect I actually prefer the TR808 drum machine on the previous album, as opposed to the Oberheim DMX and Linn Drum MkII on ‘The Art Of Falling Apart’. The sampler we used was a Synclavier MkII that belonged to our producer, Mike Thorne. I only used the sampler for the bass guitar on the track ‘Martin’ on the bonus 12” single.

You recorded a solo album ‘In Strict Tempo’ and produced VICIOUS PINK PHENOMENA. What did you find creatively by doing these that perhaps you hadn’t done with SOFT CELL?

My solo album was really just me wanting to work with some different people and experiment with the studio. It was more like a sketchbook than a fully realised album. VICIOUS PINK were good friends and were on the first SOFT CELL album and I desperately wanted to become a producer, as I was never really into the live performance thing.

After SOFT CELL disbanded, you took an interest in acid house and met Richard Norris to form THE GRID. How did that and then the subsequent availability of the Akai samplers and other equipment become a game changer for you?

I first met him a mutual friend, Genesis P. Orridge of THROBBING GRISTLE / PSYCHIC TV fame when we were working on an album called ‘Jack The Tab’. What was really crazy about the tech at that time was the affordability. When I first used a Synclavier, they cost £120,000. Then I used a Fairlight III, they cost £60,000! Suddenly you could buy an Atari computer and an Akai sampler and still have change out of £2,000. It made the whole thing available to many more people and people started sampling records and creating a whole new kind of loop based music. It was a totally new thing and I found it incredibly exciting.

THE GRID’s debut album ‘Electric Head’ stills stand up and a track like ‘One Giant Step’ hasn’t dated at all. Why do you think that might be?

To be quite honest, there’s a lot of electronic music out there that hasn’t dated because a lot of it is timeless; also because we often tried to sound futuristic.

The single versions of ‘A Beat Called Love’ and ‘Floatation’ featured recognisable musical elements that could be linked back to SOFT CELL. Had that been a conscious thing or was it proof that the rave scene was a natural progression from the ecstasy fuelled recording sessions for ‘Non-Stop Cabaret’?

Regarding ‘A Beat Called Love’ and ‘Floatation’ – we were under pressure to have hit singles, so in that respect you could make a link to SOFT CELL, albeit slightly tenuously. There was a link in terms of the ecstasy / dance music progression I guess.

What inspired the move to the now infamous “cow-punk techno” sound of ‘Swamp Thing’ and ‘Texas Cowboys’?

I’ve never heard it called “cow-punk techno” before. “Swamp Thing” was inspired by a guy I saw playing sort of Bluegrass with an Irish band in a pub in Marylebone and it occurred to me that the tempo and feel would work with a 4/4 dance beat. Unfortunately it became a bit of a novelty record. We sold a million copies worldwide and it got synched on a John Waters movie, ‘Pecker’ and on Robert Altman’s film ‘Pret A Porter’ – so it’s not all bad. ‘Texas Cowboys’ was inspired by the Andy Warhol / Paul Morrisey film, ‘Lonesome Cowboys’.

THE GRID became in-demand remixers / producers for people like Billie Ray Martin, SPARKS, ERASURE, PET SHOP BOYS, David Sylvian and Robert Fripp. Do you have a particular favourite remix that you did?

I like our mix of ‘Am I Right’ by ERASURE, I was pleased they included it on their recent anthology that got to number 9 in the UK charts. I like the mixes we did for HAPPY MONDAYS, ‘Bob’s Yer Uncle’ and ‘Loose Fix’.

How did you come to be writing again with Marc again for ‘Tenement Symphony’?

I think it was after we’d done a mix of his track ‘Waifs & Strays’. We hadn’t spoken for some time and that got us working together again on a few tracks.

What was the process in composing and recording ‘Meet Me In My Dream’, a song which many regard as a SOFT CELL song in all but name?

I think anything I’ve ever done with Marc sounds like SOFT CELL really. It’s hard not to. My process is always I’ll work out a few chords and sketch out a topline then pass it to him.

This eventually led to a full SOFT CELL reunion and the ‘Cruelty Without Beauty’ album in 2002. Had SOFT CELL been unfinished business for you?

Well, as the saying goes “Never say never again”. We were originally trying to write songs for other people, there was no plan to reform SOFT CELL, but when we did the demos in my studio it just sounded like SOFT CELL… so we just said, “OK, it’s SOFT CELL”.

Did you and Marc achieve all you had hoped for artistically in getting back together?

I’m glad we did one more album, I can’t say I had any hopes or expectations but I like the album.

You were one of the last people to work in the studio with the late Martin Rushent with your NITEWRECKAGE project?

Yes, Martin was a lovely man and a total genius in the studio. I wish I’d worked with him earlier in both our careers. He is sadly missed.

Which five tracks from all aspects of your career have you felt the most satisfaction from?

‘Baby Doll’ – SOFT CELL off ‘The Art of Falling Apart’ – it reminds me of a very special time in New York.

‘Floatation’ – THE GRID – I was pleased when it was recognised as an Ibiza chill out classic.

‘Your Loving Arms’ – Billie Ray Martin – it was our first GRID production to get in the UK Top 10 and in the Billboard 100 in the US.

‘My Hand Over My Heart’ – Marc Almond off ‘Tenement Symphony’- I love Trevor Horn’s epic production and Anne Dudley’s arrangement.

‘Say Hello, Wave Goodbye’ – SOFT CELL – I think it’s become an anthem.

Are there any projects you are working on at the moment?

Yes, I’m producing an album for Gavin Friday and another one for Anni Hogan with my production partner, Riccardo Mulhall.

What floats your boat musically these days?

Messing about with modular synths.

ELECTRICITYCLUB.CO.UK gives its grateful thanks to Dave Ball

https://www.facebook.com/David-Ball-393529214088933/

https://twitter.com/dbelectrode

https://www.discogs.com/artist/62914-Dave-Ball

http://www.softcell.co.uk

https://www.facebook.com/softcellband/

http://www.soundonsound.com/sos/apr12/articles/classic-tracks-0412.htm

http://www.soundonsound.com/sos/dec02/articles/softcell.asp

Text and Interview by Chi Ming Lai
10th March 2016

A Beginner’s Guide To MARC ALMOND

26 August 2015 /

Photo by Chi Ming Lai

Although electronic pop only forms a part of Marc Almond’s repertoire, he is forever associated with SOFT CELL’s recording of ‘Tainted Love’, possibly the first true crossover record from the Synth Britannia era.

A fan of Marc Bolan and David Bowie, Southport-born Almond started attending Leeds Polytechnic in 1979 to study Fine Art. One fellow student also on the course in the year above was Frank Tovey, soon to become FAD GADGET. Specialising in performance art, Almond met Dave Ball, a seasoned clubber who explored his artistic musings through the new medium of affordable synthesizers from Japan. Together, they formed SOFT CELL. Their first product was the self-released ‘Mutant Moments’ EP in 1980.

It came to the attention of DJ Stevo Pearce, who had been compiling futurist charts for the music papers Record Mirror and Sounds, which covered the new wave of home grown electronic music that had emerged after the success of Gary Numan. Stevo gathered a number of these acts for the independently produced ‘Some Bizzare Album’ compilation in 1981. SOFT CELL appeared alongside young hopefuls such as DEPECHE MODE, BLANCMANGE, B-MOVIE and THE THE. With DEPECHE MODE opting for Mute and BLANCMANGE eventually heading for London, Stevo signed B-MOVIE, THE THE and SOFT CELL to his Some Bizzare label and began courting the major record companies for a licencing arrangement.

Phonogram had been particularly desperate to sign B-MOVIE in order to compete and SPANDAU BALLET and DURAN DURAN. Legend has it that Stevo sent his demands to their A&R chief Roger Ames on a cassette carried by a teddy bear dressed as Robin Hood; it stipulated that SOFT CELL had to be part of the deal!

Photo by Poalo Di Paolo

Produced by Daniel Miller, SOFT CELL’s first recording for Phonogram was ‘Memorabilia’. While not a hit, it was critically acclaimed and become a cult club favourite. However, the encore of their live set was the one to capture the public’s imagination. A cover of ‘Tainted Love’, it reached No1 in the UK, Germany, Australia and Canada while also eventually entering the US Top 10.

Written by Ed Cobb, ‘Tainted Love’ was originally recorded by Gloria Jones and became a Wigan Casino favourite on the Northern Soul scene. As a fan of that scene, David Ball knew the song and took it into haunting electronic torch territory. Segued with a Motown cover ‘Where Did Our Love Go?’ on the extended version, it was to become one of Sire Records’ biggest selling 12 inch singles in America. But it was to be a double edged sword as the coupling of two covers made SOFT CELL minimal money, despite the record selling millions.

The follow-up ‘Bedsitter’ proved SOFT CELL could have a hit single with their own material. Amusingly after the release of the ‘Some Bizarre Album’, a disgruntled rival musician had poked fun at Almond and told him: “You couldn’t make a decent dance record if you tried”.

However, the disgruntled rival musician faded into obscurity and gig no-shows with his deluded combo, while ‘Bedsitter’ made it three decent dance records in a row for SOFT CELL following the club popularity of both ‘Memorabilia’ and ‘Tainted Love’. Thus began a run of hit singles that ensured Almond and Ball would be Top 40 chart fixtures for the next three years.

Almond though was looking at a life outside of SOFT CELL, so he formed MARC & THE MAMBAS. It set the tone for the artist that he would eventually become. Almond was certainly channelling his venom with aplomb, especially on delightful ditties like ‘Catch A Fallen Star’. However, it was an indication that Almond’s drug fuelled paranoia was getting to him… he later threatened a Record Mirror journalist Jim Reid while brandishing a whip, for the scribe’s slating of his Mambas opus and temporarily retired!

The pressure and criticism that came from the success of SOFT CELL was proving too much for Almond, as he went into a well-documented public meltdown. The duo turned into SUICIDE and strove to drive away what was left of their pop oriented audience. Those that remained would become The Gutter Hearts, Almond’s fan club who Boy George had generally described as “people who wear black and hate their parents”. The duo disbanded in Spring 1984 just as the third album ‘This Last Night in Sodom’ hit the shelves.

Almond’s first solo album ‘Vermin in Ermine’ released in late 1984 and embraced a classic European cabaret style with almost exclusively traditional instrumentation, often with dynamic orchestral arrangements. There was a one-off collaboration with BRONSKI BEAT in 1985 but continuing in the orchestrated vein, Almond unexpectedly hit No1 again in 1989 with ‘Something’s Gotten Hold Of My Heart’, a spirited cover with the late Gene Pitney. But despite the recognition as an artist in his own right, the spectre of SOFT CELL continued to haunt Almond.

“Synthesizers and the bands or artists that used them weren’t taken seriously at first especially by so-called serious music critics. They were ridiculed…” he remembered in a recent interview with Advocate. But with the success of Acid House and the rave scene, electronic music was now being re-evaluated.

So in 1991, Almond re-voiced a number of SOFT CELL’s best loved numbers for the ‘Memorabilia – The Singles’ collection. He also began collaborating again with Dave Ball, who was now having success with his new musical partner Richard Norris in the dance oriented combo THE GRID. The results ended up on 1991’s ‘Tenement Symphony’, possibly the most mainstream recording of Almond’s career.

The follow-up ‘Fantastic Star’ should have been the record to consolidate Almond’s position as a pop artiste. But instead, it got lost in record company politics; while Almond remains dissatisfied with the overall album, it did lead to him working with guitarist Neal X of SIGUE SIGUE SPUTNIK fame, who today continues to be his right hand man.

Looking back, SOFT CELL were probably ahead of their time. Between 1981 and 1982, they were actually a much stronger proposition than the fledgling DEPECHE MODE. Ultimately, the duo set the blueprint as the proto-PET SHOP BOYS. And although far grittier both musically and lyrically, they also smoothed the path for acts like ERASURE. Almond once said that for an artist to be “truly subversive”, they had to have “access to the mainstream” and subvert he did. So when Almond and Ball came back in 2001 for a full SOFT CELL reunion, there was a welcome acknowledgement of their ground breaking legacy.

In 1993, Almond toured Russia at the invitation of the British Consul and began of his love affair with the nation’s folk songs which continues to this day. But in October 2004, Almond was seriously injured in a motorbike accident near St Paul’s Cathedral, London.

He began a slow recovery but remained determined to get back on stage and into the studio. 2007 saw Almond return with ‘Stardom Road’, a covers album including songs made famous by Dusty, Sinatra and Bowie. The concept had largely been prompted by him being unable to write new material since his accident.

But in 2010, Almond released ‘Varieté’ his first studio album of self-written material since 2001. It was a move towards more vintage theatrics and paved the way for his future projects like ‘Pop’pea’ and ‘Ten Plagues – A Song Cycle’. Immersing himself in a variety of work since then, Almond recently re-entered the pop sphere with ‘The Velvet Trail’.

Meanwhile his current crowd-funded venture is an interpretation of Joris-Karl Huysman’s ‘À Rebours’, scored by Othon with lyrics by poet Jeremy Reed and set for release later this year.

So with such a vast and diverse career, what would a Beginner’s Guide to Marc Almond look like? Primarily focussing on his electronic, or at least, technologically assisted work and with a restriction of one song per album or project, here are ELECTRICITYCLUB.CO.UK’s 20 choices…

SOFT CELL The Girl With The Patent Leather Face (1981)

With Almond credited with “vocals/ effects / energetics”, ‘The Girl With The Patent Leather Face’ was one of the stand-outs from the ‘Some Bizzare Album’ showcase. Creepy and unsettling, Almond told the JG Ballard inspired story of a ”two-faced baby” who “tampers with machinery so other beauties crash their cars”. Ball’s gloriously out of tune Korg synths were a fine example of how electronics were maintaining Punk’s ethics of do-it-yourself minimalism.

Available on the compilation ‘Some Bizzare Album’ (V/A) via Some Bizzare Records

SOFT CELL Say Hello, Wave Goodbye (1981)

SOFT CELL’s fine debut album was recorded and mixed in the more liberal setting of New York. It captured the edginess of minimal synth arrangements while married to an actual tune. With a magnificent arrangement by Ball that allowed Almond to indulge in his Scott Walker aspirations, ‘Say Hello, Wave Goodbye’ is possibly SOFT CELL’s crowning achievement. Certainly, the line “We’re strangers meeting for the first time, OK?” has become one of the most memorable of the era…

Available on the SOFT CELL album ‘Non-Stop Erotic Cabaret’ via Phonogram Records

SOFT CELL Torch – 12 Inch Version (1982)

Punctuated by John Gatchell’s flugelhorn, ‘Torch’ came in the middle of SOFT CELL’s imperial pop phase and the eight minute version was a piece de resistance. By now, Almond and Ball had got heavily into MDMA while partying on the New York club scene. They were introduced to the drug by the singing dealer Cindy Ecstasy, who soon featured on several SOFT CELL recordings! In an amusing spoken middle section, her nonchalant off-key vocal counterpointed Almond’s fabulously forlorn romanticism.

Available on the SOFT CELL album ‘The Twelve Inch Singles’ via Phonogram Records

MARC & THE MAMBAS Untitled (1982)

The MARC & THE MAMBAS project had begun with a limited edition mail order only 12 inch release featuring ‘Sleaze’ and ‘Fun City’. With a revolving door cast of collaborators away from a traditional band format, it was rare that all the members of the collective would perform on the same recording. ‘Untitled’ was a co-write with THE THE’s Matt Johnson that had distinct European overtones. With its Roland TR808 backbone and melodic chorus, ‘Untitled’ could have easily been mistaken for a SOFT CELL song.

Available on the MARC & THE MAMBAS album ‘Untitled’ via Phonogram Records

SOFT CELL Forever The Same (1983)

John Gatchell returned, this time with his trumpet on ‘Forever The Same’ from the appropriately titled difficult second album ‘The Art Of Falling Apart’. However, Phonogram’s proposal for it to be a single release was vetoed for the less immediate ‘Numbers’. Not becoming the hit the label was hoping for, in a bid to hype it up the charts, the 12 inch was twinned with a free copy of ‘Tainted Love’. Dismayed, this incident set off an already edgy Almond and Stevo to trash the record company’s offices in a destructive rage!

Available on the SOFT CELL album ‘The Art Of Falling Apart’ via Phonogram Records

MARC & THE MAMBAS Torment (1983)

Co-written with SIOUXSIE & THE BANSHEES’ Steve Severin, the precise digital drum machine and eerie organ stabs of ‘Torment’ were offset by the gorgeous Bohemian string arrangements and the chromatic allure of Almond’s dramatic refrains. Co-produced by a young Flood, ‘Torment & Toreros’ had been an adventurous double album indulgence, but the tracklisting could have easily been streamlined into a more cohesive single long player.

Available on the MARC & THE MAMBAS album ‘Torment & Toreros’ via Phonogram Records

SOFT CELL Down In The Subway (1984)

If ‘The Art Of Falling Apart’ was SOFT CELL’s difficult second long player, ‘This Last Night In Sodom’ was an even more challenging proposition; the duo’s final hit in their first phase was this thundering percussive cover of ‘Down In The Subway’, an obscure Northern Soul song by Jack Hammer was, undoubtedly a metaphor for Almond’s mental breakdown.

Available on the SOFT CELL album ‘This Last Night In Sodom’ via Phonogram Records

MARC ALMOND Tenderness Is A Weakness (1984)

Adopting a back-to-basics approach as a reaction to SOFT CELL, Almond produced many fine songs in his trilogy of albums with THE WILLING SINGERS comprising of musicians who had been involved in ‘Torment & Toreros’. Free of the mechanical limitations of SOFT CELL, he was more melodramatic than ever before. Produced by Mike Hedges who worked with ASSOCIATES and SIOUXSIE & THE BANSHEES, ‘Tenderness Is A Weakness’ was a remarkably passionate song, regardless of genre.

Available on the MARC ALMOND album ‘Vermine In Ermine’ via Phonogram Records

MARC ALMOND These My Dreams Are Yours (1988)

While Almond was continuing on his path of orchestrated European cabaret torch songs, an electronic element was starting to creep back in, particularly in the club remixes of ‘Tears Run Rings’ and ‘Bittersweet’. A pulsating electronic bassline formed the backbone of the emotive ‘These My Dreams Are Yours’, a song which owed its existence to ‘No Regrets’, made famous by Scott Walker in 1976. Featuring the vocals of Victoria Wilson-James, this string laden drama showed Almond was opening up to technology again.

Available on the MARC ALMOND album ‘The Stars We Are’ via EMI Records

MARC ALMOND Madame La Luna (1990)

Produced by Bob Kraushaar who had worked with PROPAGANDA, ACT and PET SHOP BOYS, the success of the ‘The Stars We Are’ meant its follow-up ‘Enchanted’ was allowed a bigger recording budget by EMI. The ethos behind pop production in this CD age was “bigger is better” and the epic album opener ‘Madame De La Luna’ was a fine example of the marvellous fusion between the Fairlight CMI programmed by co-producer Gary Maughan and the cinematic orchestrations of Billy McGee.

Available on the MARC ALMOND album ‘Enchanted’ via EMI Records

MARC ALMOND Meet Me In My Dream (1991)

While ‘Tenement Symphony’ is best remembered for the mighty Trevor Horn produced covers ‘Jacky’ and ‘The Days Of Pearly Spencer’, it also hosted a writing reunion with Dave Ball. The magnificent ‘My Hand Over My Heart’ was given an epic reworking by Mr Horn and closed the collection. But starting the album was the more minimal, but no less emotive ‘Meet Me In My Dream’. A classic SOFT CELL song in all but name, it was a reminder of the undeniable magic that Ball and Almond together possessed.

Available on the MARC ALMOND album ‘Tenement Symphony’ via WEA Records

MARC ALMOND Brilliant Creatures (1996)

The original ‘Fantastic Star’ album sessions had seen Almond reunited with Mike Thorne who had produced SOFT CELL’s first two albums. But at Mercury Records behest, numerous other studio personnel were brought in. It also led to managerial strife which eventually ended his relationship with Stevo. Produced by Martyn Ware, who was fresh from steering ERASURE’s ‘I Say I Say I Say’ album, ‘Brilliant Creatures’ reflected the uptempo club friendly electronic pop of the times.

Available on the MARC ALMOND album ‘Fantastic Star’ via Mercury Records

MARC ALMOND & SIOUXSIE SIOUX Threat Of Love (1999)

Under new manager Vicki Wickham who had looked after Dusty Springfield, Almond signed to Echo Records in 1998, but almost straight away, record company politics intervened. The eventual album ‘Open All Night’ was issued on Almond’s own Blue Star label and a more downbeat electronic based excursion than he had previously attempted. A feisty trip-hop electro fusion with the Queen of Goth, ‘Threat Of Love’ was orchestrated with an amorous, but sinister Middle Eastern tone.

Available on the MARC ALMOND album ‘Open All Night’ via Blue Star

SYSTEM F featuring MARC ALMOND Soul On Soul (2001)

Ferry Corsten had a huge international hit in 1999 with ‘Out Of The Blue’ under his SYSTEM F moniker. It highlighted the spiritual connection between synthpop and trance. So substantiating the link further, the Rotterdam based producer recruited Almond to guest on the blinding ‘Soul On Soul’. It was a spirited, club friendly workout, with Almond giving an exuberant performance over the frantic dance beats and swirling arpeggios.

Available on the SYSTEM F album ‘Out Of The Blue’ via Tsunami Records

MARC ALMOND Glorious (2001)

Despite the parallel SOFT CELL reunion, Almond recorded another solo album ‘Stranger Things’. ‘Glorious’ was an appropriately titled electronic torch ballad that combined his unique vocal histrionics with a big sound production that had not been heard since his work with Trevor Horn for ‘Tenement Symphony’. Icelandic producer Jóhann Jóhannsson did a fine job with the song’s widescreen dynamics, adding some vintage ARP Odyssey textures along the way as well.

Available on the album ‘Stranger Things’ via Strike Force Entertainment / Cherry Red Records

SOFT CELL Desperate (2002)

Almond and Ball’s comeback album ‘Cruelty Without Beauty’ saw a return to the kitchen sink dramas that the pair were famous for. The launch single ‘Monoculture’ was an attack on modern society’s acceptance of the bland. And with ‘Desperate’, reality talent shows were where Almond chose to vent his spleen. Narrating the thoughts of a young hopeful seeking fame and fortune at whatever cost, with its Bond Theme styled brass inflections, ‘Desperate’ was a great example of the satirical social commentary.

Available on the SOFT CELL album ‘Cruelty Without Beauty’ via Cooking Vinyl

T-TOTAL featuring MARC ALMOND Baby’s On Fire (2005)

A danced up cover of Brian Eno’s cult favourite from ‘Here Come The Warm Jets’, Almond always saw himself as a fan of the ROXY MUSIC synth dandy, rather than the more suave singer Bryan Ferry. He relished the opportunity to cover one of his favourite songs and saw the collaborative adventure as a good way to ease himself back into the recording process after his accident in 2004. This reworking still retains much of the mad swirling spirit of the original, while updating the song for a new audience.

Available on the T-TOTAL featuring MARC ALMOND single ‘Baby’s On Fire’ via Pure Mint

STARCLUSTER featuring MARC ALMOND Smoke & Mirrors (2008)

Following his ‘Stardom Road’ covers project, Almond continued with his one-off collaborations. Maintaining his varied portfolio and willingness to try different styles, ‘Smoke & Mirrors’ was a Hi-NRG octave shifting dance anthem in the vein of Giorgio Moroder. Produced under the auspices of Anglo-German duo Roland Faber and Kai Ludeling, there was even a sweeping VANGELIS rooted synth solo thrown in for good measure towards the conclusion.

Available on the STARCLUSTER album ‘Silver City Ride’ via Private Records

MARC ALMOND Worship Me Now (2014)

With a buzzing cacophony of synths, ‘Worship Me Now’ was Almond’s most overtly electronic work in quite a while. Written by PULP’s Jarvis Cocker, it saw Almond having fun with interpreting the lyrics and sending himself up with the passion of his own classic torch songs. Apart from suggesting the female backing vocals, he had very little to do with the track other that sing, preferring to leave himself in the competent hands of producers Jason Buckle and Tris Penna.

Available on the MARC ALMOND album ‘The Dancing Marquis’ via Strike Force Entertainment / Cherry Red Records

MARC ALMOND Bad To Me (2015)

With the aftermath of his accident and acknowledged as a fine interpreter of other people’s songs, it was understandable that Almond was content with just being able to perform and record. But when producer Chris Braid heard Almond had say “the songwriting muse had all but left me”, he spun into action and sent Almond a number of songs that successfully re-inspired the tainted soul. ‘Bad To Me’ was a wonderfully glitzy, Schaffel stomper that announced Almond’s welcome return to the mainstream.

Available on the MARC ALMOND album ‘The Velvet Trail’ via Strike Force Entertainment / Cherry Red Records

For further information on Marc Almond, please visit: http://www.marcalmond.co.uk/

The limited edition cloth bound photo book ‘Marc Almond’ published by First Third is available from http://www.firstthirdbooks.com/books/marc-almond-2/

https://www.facebook.com/MarcAlmondOfficial

https://twitter.com/MarcAlmond

https://www.youtube.com/user/MarcAlmondOfficial/videos

Text by Chi Ming Lai
26th August 2015

SYNTH BRITANNIA

27 March 2010 /

Photo by Chi Ming Lai

Synth You’ve Been Gone…

BBC4’s marvellous ‘Synth Britannia’ celebrated the rise of the synthesizer and how it changed popular music forever, particularly in the UK.

Superbly produced and directed by Ben Whalley with interlinking cultural commentary provided by ‘Rip It Up And Start Again’  author Simon Reynolds, it was an empathetic documentary that captured the spirit of a golden era.

The contributors to the programme read like a ‘Who’s Who?’ of electronic music: Wolfgang Flür; Daniel Miller; Richard H Kirk; John Foxx; Gary Numan; Phil Oakey; Martyn Ware; Andy McCluskey; Paul Humphreys, Martin Gore; Vince Clarke; Andy Fletcher; Midge Ure; Dave Ball; Alison Moyet; Susanne Sulley; Joanne Catherall; Bernard Sumner; Neil Tennant; Chris Lowe.

They were to become the heroes of the revolution, rebels with a cause, poster boys and girls of the VCO! Although there were a few errors, especially with regards dates like when OMD signed to Factory and the single of ULTRAVOX’s ‘Vienna’ was released, this was an entertaining 90 minutes.

The new attitude brought about by punk in 1977 was still a bit too rock’n’roll for some like the young Daniel Miller, learning three chords was still three too many! But armed with newly affordable silicon-chipped technology by Korg and Roland from Japan, the true DIY spirit encouraged by the new wave would be fully exploited. Wonderful and weird sounds could be made using just one finger, knob twiddling would become the new art! Daniel Miller and Martyn Ware gleefully tell of their first synth purchase, in both cases it was the Korg 700s. The accessibility of the budget priced synthesizer offered the ultimate challenge to musical convention. It was electric dreams over acoustic nightmares!

Like some on this programme, my first introduction to the sound of the synthesizer came via KRAFTWERK and Walter (now Wendy) Carlos. In the summer of 1976, my junior school teacher was the young and pretty Miss Neilson.

She’d already shown her Bohemian colours by naming our pet guinea pig ‘Bilbo’!! But one day in PE, she made Class4 interpret movement to ‘Autobahn’ and the soundtrack to ‘A Clockwork Orange’!!!

Although too young to really appreciate what was going on, my aural palette was being shaped by this fantastic cacophony of electronics. Novelty instrumental hits like Jean Michel Jarre’s ‘Oxygene Part VI’ and SPACE’s ‘Magic Fly’ soon followed and caught my pre-teen futuristic mind as I eagerly waited for the next episode of ‘Space 1999’! The importance of science fiction in the development and imagination of electronic music cannot be underestimated with ‘Dr Who’ and the writings of JG Ballard being particularly important influences.

Donna Summer’s ‘I Feel Love’ was Year Zero for modern electronic pop music as we know it. Producer Giorgio Moroder‘s throbbing sequencers and dance beats were “the future of the future”.

But Gary Numan’s first appearance in May 1979 on ‘Top Of The Pops’ was for many including myself, their ‘Ziggy Stardust’ moment in the birth of synthpop, ‘Are ‘Friends’ Electric?’ was cold and detached, the discordant Moog machinery and the haunted vocal sneer connected with many during this gloomy period in Britain. It seems unbelievable now, but it was the talk of school the following morning. Electronic music had just found its first pop star!

Unemployment in the UK was at an all time high. Margaret Thatcher was now in power while across the Atlantic, Ronald Reagan was “President Elect”! With fascist gods in motion, the Cold War had heightened to the point where no-one’s future on this earth could be guaranteed. Whilst OMD’s ‘Enola Gay’ related to the nuclear holocaust paranoia of the time via some incongruous melodic warmth, there were a number of other pop-orientated bands just around the corner.

Photo by Deb Danahay

The new Mk2 version of THE HUMAN LEAGUE, SOFT CELL and DEPECHE MODE all possessed a defiant spirit of optimism in the face of adversity because ultimately “everybody needs love and affection”! The music was emotive and avant, all at the same time! “We never wanted to be KRAFTWERK” says Phil Oakey, “we wanted to be a pop band!”

The use of synthesizers was a statement of intent, like an act of artistic subversion. But as Marc Almond once said, you can only truly subvert when you have access to the mainstream. How can you change the world if no-one hears you? Musically, the best way to achieve this was going to be through pop songs! Whilst owing a debt to KRAFTWERK and taking advantage of the door opened by Gary Numan, these acts managed to appeal to people who didn’t necessarily know what a Linn Drum Computer was! Joanne Catherall and Susanne Sulley amusingly recalled when the UK’s first Linn LM-1 was delivered to Martin Rushent’s Genetic Studios for the making of ‘Dare’: “They were all very excited… OK boys!”

There are several technology driven insights like Paul Humphreys playing ‘Enola Gay’ on the Korg Micro-Preset, John Foxx demonstrating the ARP Odyssey and Daniel Miller operating the ARP 2600 which was used on all the early DEPECHE MODE albums. There were often misconceptions about how this stuff worked though. “The number of people who thought that the equipment wrote the song for you: ‘well anybody can do it with the equipment you’ve got!'” remembers Andy McCluskey, “F*** OFF!!”

“You’ve got to remember it was the first time ever that someone could sit and make a record on their own” says Midge Ure, stating the recording of EURYTHMICS ‘Sweet Dreams’ in a basement on an 8 track tape machine as an example! But as the success of synthesizer continued, the backlash set in. Numan was particularly the victim of some venomous media attacks; not only was he doing electronic music but he had none of the anti-hero stance of punk… he wanted to be a popstar: “I don’t speak for the people because I don’t know them!” he exclaimed!

Andy Fletcher tells of the Battle Royale that DEPECHE MODE were always having with the press. People insisted it wasn’t proper music. The Musicians Union even tried to ban the use of synths in studios and live performance!

I remember fellow classmates unceremoniously smashed up and burned a copy of ‘Cars’… AND THEN presented me with the remains! If I wasn’t already feeling isolated, then this sort of intimidation was certainly going to seal it!

Martin Gore quotes a disgruntled rock journalist who described the genre as being for “alienated youth everywhere, and Germans!” As an outsider with a typical post-war ‘Boys Own’ fascination for Airfix kits and Messerschmitts, this music would define me! What did these narrow-minded hooligans know?

Worshipping America was not what I wanted! To me, soul and jazz funk (much like R’n’B today) was the horrid soundtrack of the school bully! SYNTHPOP and its Mittel Europa romanticism appealed to my sense of elitism. I could wear my intelligence on my sleeve, it would become my badge of honour! Pretentious… MOI?

Photo courtesy of Alex Machairas

The move towards today’s electronic based dance music as pioneered by Giorgio Moroder is symbolised by the success of NEW ORDER and PET SHOP BOYS. Legend has it that KRAFTWERK were so impressed by the sound of ‘Blue Monday’, they sent an engineer down to Britannia Row Studios to check out the equipment only to find out it was comparatively unsophisticated! But ‘Synth Britannia’ actually goes on to suggest that the success of the third generation acts like Howard Jones and THOMPSON TWINS was the death of this fantastic period. “There was too much synthpop around, it was all very well being on a synth but actually the melodies and how some of the songs were structured was quite traditional and trite…” sighs Simon Reynolds, “it wasn’t that inventive as electronic music!” – he was right!

Unfortunately by the mid-80s, most of our heroes had given up the fight and went conventional. “We were all a bit lost by then” says Phil Oakey, “like we didn’t have anything to prove!” After declaring in 1980 that ‘Travelogue’ contained “synthesizers and vocals only”, THE HUMAN LEAGUE had by the disappointing ‘Hysteria’ credited Jo Callis with “guitars, keyboards, vocals”, sadly in that order!

Meanwhile OMD went from listing all their equipment on their ‘Dazzle Ships’ and ‘Junk Culture’ albums to Paul Humphreys simply being on “vocals, electronic keyboards, piano” for ‘Crush’! The lure of dollars to water down the synthesized sound for synthobic America just couldn’t be resisted anymore! This classic era of quality synthpop was sadly now over!

However, while the others fragmented, DEPECHE MODE got darker and stuck to their electronic blueprint, eventually achieving massive success in the US from 1988. So it would seem these pioneering acts’ original Eurocentric electronic manifestos had been right after all.

Their legacy is evident today: LITTLE BOOTS and LA ROUX have hit the Top 10, and collaborated on the marvellous BBC6 Music ‘Back To The Phuture’ live sessions with Gary Numan and HEAVEN 17 respectively; rock band MUSE credit “synths and programming” on their new album while featuring a song that sounds like ‘Vienna’; and a girl group cover of ‘Just Can’t Get Enough’ is a ‘Comic Relief’ charity single!

Meanwhile, the synthpop era’s big international No1s ‘Don’t You Want Me?’ and ‘Tainted Love’ are still being played at weddings and night clubs, ironically often being sung along to by the same bully boys who were setting fire to Gary Numan records years earlier!! “It was exciting to be part of a musical movement that had never been done before, it was a fine time” smiles Vince Clarke.

Photo by Deb Danahay

‘Synth Britannia’ ends appropriately enough with ‘Together in Electric Dreams’ and this final quote from Andy McCluskey: “We were trying to do something new, that is specifically why we chose electronics, we wanted to sweep away all of the rock clichés! And then what happens towards the end of the 80s and even worse, the mid 90s? Everybody decides guitars are back, synthesizers are somehow old fashioned AND, we get Oasis!!”

McCluskey holds his hand to his head in despair but today, most of the acts featured in ‘Synth Britannia’ are still playing to packed audiences around the world. What was originally an electric dream is now a full blown reality. JUSTICE and a job well done 🙂

Ohm Sweet Ohm! The ‘Synth Britannia’ Soundtrack

DEPECHE MODE New Life
WENDY CARLOS William Tell Overture
WENDY CARLOS Title Music from ‘A Clockwork Orange’
KRAFTWERK Autobahn
THE CLASH White Riot
THE NORMAL TVOD
THE NORMAL Warm Leatherette
THE FUTURE 4JG
THE HUMAN LEAGUE Being Boiled
DONNA SUMMER I Feel Love
CABARET VOLTAIRE Seconds Too Late
CABARET VOLTAIRE Nag Nag Nag
OMD Messages
OMD Enola Gay
JOY DIVISION Atmosphere
JOHN FOXX Underpass
THROBBING GRISTLE Still Walking
THROBBING GRISTLE Hot on the Heals of Love
FAD GADGET Back to Nature
SILICON TEENS Memphis Tennessee
TUBEWAY ARMY Are ‘Friends’ Electric?
GARY NUMAN Cars
VISAGE Fade to Grey
THE FLYING LIZARDS Money
DEPECHE MODE New Life
DEPECHE MODE Just Can’t Get Enough
DEPECHE MODE Sometimes I Wish I Was Dead
THE HUMAN LEAGUE Don’t You Want Me
HEAVEN 17 – Penthouse & Pavement
CABARET VOLTAIRE Landslide
SOFT CELL Tainted Love
YAZOO Only You
YAZOO Don’t Go
OMD Maid of Orleans
EURYTHMICS Sweet Dreams
ULTRAVOX Vienna
KRAFTWERK The Model
DEPECHE MODE Everything Counts
DEPECHE MODE Master and Servant
PET SHOP BOYS West End Girls
NEW ORDER Ceremony
NEW ORDER Blue Monday
PHILIP OAKEY & GIORGIO MORODER Together in Electric Dreams

Text by Chi Ming Lai
27th March 2010

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