Tag: Fad Gadget (Page 2 of 4)

MUSIK, MUSIC, MUSIQUE 1980 | The Dawn Of Synth Pop

13 July 2020 /

1977 is often seen as Year Zero for synthpop, thanks to hit singles by DONNA SUMMER, SPACE and JEAN-MICHEL JARRE.

But it was not until 1979 with TUBEWAY ARMY reaching No1 with ‘Are Friends Electric?’ that the sound of synth truly hit the mainstream.

Although ‘No1 Song In Heaven’ by SPARKS had actually been a hit a few months earlier, ‘Are Friends Electric?’ was the beginning of the synth being accepted as a worthy mode of expression, rather than as a novelty. But as synths became more affordable, they became the perfect tool of youthful expression.

From Cherry Red, makers of the excellent ’Electrical Language: Independent British Synth Pop 78-84’ 4CD boxed set, comes ‘Musik Music Musique’; subtitled ‘1980: The Dawn Of Synth Pop’, this 3CD 58 track collection explores the arrival of synth pop and the dawn of a new musical era. This was the year before the synth became the rule rather than the exception with the success of SOFT CELL and DEPECHE MODE.

The set starts appropriately with OMD and ‘Messages’, one of the first tunes showcasing the warmer side of electronics following the colder wave led by Messrs Numan and Foxx. But as if to counter this next generation of youngsters, ‘Messages’ is immediately followed by the collection’s vocoder laden title song ‘Musik Music Musique’ from Zeus B Held and the superb proto-industrial ode to loveless sex ‘Coitus Interruptus’ by the much missed FAD GADGET.

Zeus B Held was later to make his impression on popular culture remixing ALPHAVILLE and SIMPLE MINDS as well producing the likes of FASHION, DEAD OR ALIVE, SPEAR OF DESTINY and TRANSVISION VAMP, but his wider breakthrough came as part of GINA X PERFORMANCE in 1979 with The Blitz Club favourite ‘No GDM’; on this compendium, the lesser-known but just as worthy ‘Vendor’s Box’ from their second album ‘X-Traordinaire’ is deservedly provided a platform.

The best producers often earn their spurs as artists and realising their limitations, use their accumulated studio nous to subvert the mainstream via pop. ‘Astroboy’ by BUGGLES sees Trevor Horn develop his sonic architecture to prove that he had another song that wasn’t ‘Video Killed The Radio Star’. Meanwhile the welcome inclusion of NEW MUSIK’s other hit ‘This World Of Water’ allows Tony Mansfield to showcase the crafted sparkle that would later go on to adorn records by CAPTAIN SENSIBLE, VICIOUS PINK, A-HA and NAKED EYES.

It may seem strange to see SPANDAU BALLET as part of this package but when they first appeared, they were considered a synthesizer band; ‘Glow’ was a UK double A side single with ‘Musclebound’ in 1981 and while it was the last synth-led track they did, their funk soul aspirations were there for all to hear. In fact, songwriter Gary Kemp had conceived ‘Glow’ with a brass section in mind, so it is now something of a curio that could be seen as a precursor to ‘Chant No1’.

SPANDAU BALLET were produced by Richard James Burgess who co-designed the Simmons SDSV; his electro-jazz combo LANDSCAPE figure with the Colin Thurston helmed ‘European Man’ which was actually designated “electronic dance music” on its single artwork some three decades before it was appropriated and abbreviated to become EDM…

Many of the usual suspects from the period like VISAGE, JAPAN, THE HUMAN LEAGUE and OUR DAUGHTER’S WEDDING are all present and correct with familiar recordings, but interestingly (although not for the better), it’s the original version of Phil Lynott’s ‘Yellow Pearl’ without the Rusty Egan drums or the Midge Ure remix that gets the nod!

One of the main beauties of these thoughtfully curated collections is to be able sway away from the obvious and feature a known-name with a lesser-known work; in the case of ULTRAVOX, it’s the occasionally Eno-inspired and Conny Plank produced ‘Waiting’ which was the B-side to their first Midge Ure fronted single ‘Sleepwalk’. Meanwhile, SUICIDE are represented by the excellent Ric Ocasek produced ‘Diamonds, Fur Coat, Champagne’ and YELLO with ‘Bimbo’, the oddball opener of the Swiss trailblazers’ debut long player ‘Solid Pleasure’.

SILICON TEENS get to feature with something other than ‘Memphis Tennessee’ and it’s the Daniel Miller‘s self-penned instrumental ‘Chip N Roll’ that has the honour, while the Mute Records founder gets another track in with ‘Brushing Your Hair’, a gloriously vibrant instrumental production and co-write for Alex Fergusson of ALTERNATIVE TV.

There’s additionally tracks by lesser known international acts or those bands that faded from view after effectively being one hit wonders. The entire career of M may have been overshadowed by the ubiquitous ‘Pop Muzik’ but Robin Scott did go on to release three albums and work with Ryuichi Sakamoto; the sombre ‘Official Secrets’ may not really have much of a hook but it contains some percolating bleepy sections that pre-date KRAFTWERK’s ‘Home Computer’ by one year.

‘A Circuit Like Me’ from Australian combo, THE METRONOMES actually sounds very 21st century with its detached female vocal and charming monosynths, while the gallop of ‘Drawn & Quartered’ by THE KORGIS is a worthy find. Now while ROCKETS found fame with a catchy robotic flavoured cover of ‘On The Road Again’ with the help of Zeus B Held, the silver faced Italians found that the vocoder suited their performance art poise and reapplied it for the self-penned space rocker ‘Galactica’.

Also possessing a bit of a gallop is LORI & THE CHAMELEONS’ wispy Morricone-influenced single ‘The Lonely Spy’ although with its acoustic strum, it is quite different from the understated electronic disco of their best known track ‘Touch’. Cut from a similar melodic post-punk cloth, the Martin Hannett produced ‘Sympathy’ from PAULINE MURRAY & THE INVISIBLE GIRLS is a reminder of how women were coming to the fore after punk in synth-assisted new wave, a fact borne out on ‘Musik Music Musique’ by the inclusion of more obscure works from TOYAH, KIM WILDE and HAZEL O’CONNOR.

‘Musik Music Musique’ is also an opportunity to become reacquainted with lost tunes of yore and ‘The Eyes Have It’ by KAREL FIALKA will be remembered by those who owned the 1980 Virgin Records compilation ‘Machines’, as will the octave driven ‘Destiny’ by DALEK I LOVE YOU. Some enjoyably avant pop adventures come courtesy of XYNN’s ‘Computed Man’ and SCIENCE’s ‘Tokyo’, while one of the more bizarre but successful experiments included is ‘I’m A Computer’ by THE GOO-Q.

One of the lesser known acts featuring with the eccentric ‘Money’ is MOEBIUS, not the member of German duo CLUSTER but an American art rock band with a penchant for DEVO. ‘Doctor …?’ by BLOOD DONOR is another wonderful discovery while of the more experimental art pieces included, NINI RAVIOLETTE’s ‘Suis-Je Normale’ delightfully comes over like a collaboration between Jane Birkin and Laurie Anderson.

Düsseldorf is often seen as the spiritual home of electronic music and there is worthy representation from DER PLAN and ‘Da Vorne Steht Ne Ampel’ illustrating how there were other dimensions to German electronic music other than that engineered by KRAFTWERK. But closing the set is the band named after the Electri_City itself, LA DÜSSELDORF with the light-hearted ‘Dampfriemen’; a quirky slice of synth “Oompah” with comedic chants and a kazoo section, it sums up the manic oddball nature of the former NEU! drummer Klaus Dinger.

There are many other tracks that have merit, but textures which reoccur on ‘Musik Music Musique’ to date stamp the period are the icy chill of the affordable ARP Quartet string machine and squawky sax, although not in an overblown jazz funk way.

Despite ‘Musik Music Musique’ comprising of a carefully researched tracklisting, a few errors do slip through; as well as the SPANDAU BALLET track being released in 1981 as already mentioned (although it was available on a very scarce Japanese-only promo sampler in late 1980), the version of ‘Kebabträume’ by DAF is the 1982 Conny Plank version from the Virgin album ‘Für Immer’ and not the Bob Giddens produced Mute Records five piece band recording which actually came out in 1980.

Then in the booklet, the Foxx fronted 1977 line-up of ULTRAVOX! gets illustrated as opposed to the New Romantic suited Midge Ure one, while LA DÜSSELDORF’s Hans Lampe is referred to as a “Keyboard Whizz” when he is actually a drummer and now performs with Michael Rother who was Klaus Dinger’s partner in NEU!; in fact Dinger handled keyboards himself under the pseudonym of Nikolaus Van Rhein.

Those are minor quibbles though, because this set is very good value and acts as a great music history lesson as well as offering the chance to hear some new vintage synth. While many may have heard of BERLIN BLONDES, THE PASSAGE, THE FALLOUT CLUB and EYELESS IN GAZA, only a few will have heard their music.

‘Musik Music Musique’ offers something of a low risk opportunity to make some new friends while becoming reacquainted with a few old and lost ones. Here’s to the 1981 follow-up set…

‘Musik Music Musique – 1980: The Dawn Of Synth Pop’  is released on 31st July 2020 as a 3CD boxed set by Cherry Red Records

https://www.cherryred.co.uk/product/musik-music-musique-1980-the-dawn-of-synth-pop-various-artists-3cd/

Text by Chi Ming Lai
13th July 2020

A Beginner’s Guide To DANIEL MILLER

4 June 2020 /

This history of Mute Records and its esteemed founder Daniel Miller is more than well documented.

The lavish book ‘Mute: A Visual Document From 1978 – Tomorrow’ published in 2017 captured the iconic label’s visual aesthetic. Already a fan of German kosmische scene, Daniel Miller began taking an interest in synthesizers for making pop music after hearing KRAFTWERK’s ‘Autobahn’.

The advent of affordable synthesizers from Japan manufactured by the likes of Korg and Roland made it possible for him to adopt punk’s DIY ethic by buying a Korg 700s for the price of a guitar. That enabled him to make music using just one finger, instead of having to learn three chords.

Conceiving a punk single with electronics, he wrote and recorded ‘Warm Leatherette’ b/w ‘TVOD’ for a one-off independent single release in 1978. Miller’s sense of experimentation within a structured albeit avant pop context led to kindred spirits sending him tapes, thanks to him including his mother’s address “16 Decoy Avenue London NW 11 England” on the back of the MUTE 001 sleeve.

Mute Records’ first signing was a former art student Frank Tovey who released the macabre ‘Back To Nature’ as FAD GADGET in 1979 as MUTE 002 with Miller co-producing. It began establishing a good reputation for experimental electronic pop music. As well as running the label and working in the studio with his own roster of acts, Miller also produced and remixed other artists, although this became less frequent as Mute Records achieved more and more success.

If Daniel Miller had a characteristic sound during the pioneering years of Synth Britannia, then it was his use of the ARP 2600 driven by an ARP 1601 analogue sequencer, particularly for unique rhythmic templates obtained from the percussive capabilities of this versatile American synth.

Always keen to keep up-to-date with the latest technology, Miller’s later acquisitions included a Synclavier, PPG Wave 2, Emulator, Roland System 100M and Roland MC4 Micro-Composer. Many years later, Miller even bought the customised vocoder used on ‘Autobahn’ from the late Florian Schneider even though it was not in fully working order.

While Miller’s production work with DEPECHE MODE over five albums naturally led American new wave acts like BOOK OF LOVE to seek his knowhow, indie band THE HOUSE OF LOVE were surprisingly curious enough to secure his services on their track ‘Safe’. Meanwhile, post-punk art rock combo WIRE saw him as a kindred spirit keen to explore new interesting ways of recording and worked with Miller in various guises.

While Daniel Miller stepped back from producing DEPECHE MODE in 1987 to concentrate on Mute Records, it was his mix with Phil Legg of the Flood produced ‘Enjoy The Silence’ that became the international hit single; Miller had felt the version that François Kevorkian had presented was too electronic. 

While work had been going well with the French-born DJ’s mixes for the ‘Violator’ album, Miller’s instincts told him ‘Enjoy The Silence’ needed to be brought back slightly with a more organic vision. The song had already been transformed in the studio from a funereal ballad to an electronic disco number with house influences!

Although Mute Records was bought by EMI in 2002, Miller reached an agreement in 2010 to establish a second independently run record label under the name Mute Artists while the Mute Records name and rights to the label’s archive recordings remained under the control of EMI’s present owners Universal. More recently, Daniel Miller has been happily DJ-ing around the world playing largely techno sets for Berghain in Berlin, Sónar in Barcelona and IMS in Ibiza among others.

Meanwhile he has also occasionally given talks at events such as MoogFest. Red Bull Music Academy, LEAF and the Electri_City_Conference.

With a vast and varied portfolio to investigate, ELECTRICITYCLUB.CO.UK looks back at the creative career of Daniel Miller in music via 18 of his productions and remixes, with a restriction of one track per artist moniker, presented in yearly, then alphabetical order.

THE NORMAL Warm Leatherette (1978)

Daniel Miller’s sense of experimentation and vision of the synth being the ultimate punk instrument requiring the use of just one finger led to him making his first record. Lyrically inspired by JG Ballard’s ‘Crash’ with its story around car collision symphorophilia, the dystopian ‘Warm Leatherette’ was based around two noisy notes and a twitchy rhythmic backbone that was menacing yet enthralling at the same time. It turned out to be something of a game changer.

Available on THE NORMAL single ‘ Warm Leatherette’ / ‘TVOD’ via Mute Records

http://mute.com/category/the-normal

FAD GADGET Coitus Interruptus (1980)

Following the success of singles ‘Back To Nature’ and ‘Ricky’s Hand’, a FAD GADGET album was eagerly anticipated and it came with ‘Fireside Favourites’ which brought in a Korg Rhythm 55 drum machine, conventional instruments and various found objects alongside the synths. A four way production effort between Frank Tovey, Daniel Miller, Eric Radcliffe and John Fryer, the superb ‘Coitus Interruptus’ was a deeply cynical commentary on casual relationships.

Available on the album ‘Fireside Favourites’ via Mute Records

https://fadgadget.co.uk/

ALEX FERGUSSON Stay With Me Tonight (1980)

Larry Least was a production pseudonym inspired by the producer Mickey Most. This infectious solo single by Alex Fergusson featured Daniel Miller’s distinctive electronic footprint and his involvement helped the ALTERNATIVE TV guitarist transform from post-punk to more synthesized song experiments. With Fergusson forming PSYCHIC TV with Genesis P-Orridge, it wasn’t until 1992 that a white label only self-titled solo album was released.

Available on the boxed set ‘Electrical Language: Independent British Synth Pop 78-84’ (V/A) via Cherry Red Records

https://www.scaruffi.com/vol4/atv.html

SILICON TEENS Memphis Tennessee (1980)

Following THE NORMAL, Daniel Miller decided to undertake a new project where rock ’n’ roll standards like ‘Just Like Eddie’ and ‘Memphis Tennessee’ were reinterpreted in a synthpop style, using a fictitious group called SILICON TEENS as a front. While Miller sang like he had a clothes peg attached to his nose and produced the recordings as Larry Least, several actors hired to appear in videos and do press interviews, although lead vocalist ‘Darryl’ was played by Frank Tovey.

Available on the SILICON TEENS album ‘Music For Parties’ via Mute Records

http://mute.com/release/music-for-parties

ALAN BURNHAM Science Fiction (1981)

For a one-off single on Cherry Red Records, the dystopian minimal synth of ‘Music To Save The World By’ from the little known and somewhat reclusive Alan Burnham was produced by Daniel Miller at Blackwing Studios. He also worked on its B-side ‘Science Fiction’ which was just as haunting as the main act. Perhaps more organic thanks to the use of live drums by Cam Findlay, it took a leaf out of the quirky cult Wirral duo DALEK I LOVE YOU and their song ‘The World’ in particular.

Available on the boxed set ‘Electrical Language: Independent British Synth Pop 78-84’ (V/A) via Cherry Red Records

http://mute.com/mute/daniel-miller

SOFT CELL Metro MRX (1981)

The original ‘Metro MRX’ came from the SOFT CELL debut EP ‘Mutant Moments’ released in October 1980, but the sub-two minute Daniel Miller take of ‘Metro MRX’ for ‘Flexipop’ magazine borrowed the same synthetic rhythm track as DEPECHE MODE’s ‘New Life’ to accompany Almond’s snarls of “he’s a mutant!”. Miller also produced ‘A Man Can Get Lost’, ‘Persuasion’ and perhaps most significantly, the proto-house of ‘Memorabilia’ at those same Stage One recording sessions.

Available on the SOFT CELL boxed set ‘Keychains & Snowstorms’ via Universal Music

https://www.softcell.co.uk/

DEPECHE MODE Nothing To Fear (1982)

While Eric Radcliffe was working on the first YAZOO album at Blackwing Studios on the night shift, during the day Daniel Miller was with DEPECHE MODE for their second. With punchy Simmons Drum modules and a catchy melodic theme, ‘Nothing To Fear’ was a glorious instrumental statement from an important long player that made the most of Miller’s expertise to ensure an optimistic future for Messrs Gahan, Gore and Fletcher.

Available on the DEPECHE MODE album ‘A Broken Frame’ via Mute Records

http://www.depechemode.com/

THOMAS DOLBY Radio Silence (1982)

When recording ‘Radio Silence’ for singular consumption, Thomas Morgan Dolby Robertson sought the assistance of Daniel Miller thanks to his track record with DEPECHE MODE. Bringing in his PPG Wave 2 and helping with the final mix, it was released as a single in early 1982 with an alternative rockier guitar driven version on the B-side which was favoured in the US. Both takes also featured the voice of Akiko Yano, who was married to Ryuichi Sakamoto at the time.

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

https://www.thomasdolby.com/

DUET EMMO Or So It Seems (1982)

WIRE refugees, Bruce Gilbert and Graham Lewis had been working as DOME, so when a collaboration with Miller was suggested, an anagram of that moniker and Mute resulted in DUET EMMO. Recorded at Blackwing Studios, ‘Or So It Seems’ was their debut offering, a slice of experimental pop shaped with grumbling synthesized bass, captivating electronics and textural harmonic guitar while Lewis’ haunting vocals provided the emotional centre, spooked by sombre bursts of brass.

Available on the DUET EMMO album ‘Or So It Seems’ via Mute Records

https://mutesong.com/writers/duet-emmo/

YAZOO Situation (1982)

The B-side to ‘Only You’, ‘Situation’ was one of only three writing collaborations between Alison Moyet and Vince Clarke, as well as only being one of five YAZOO tracks that Daniel Miller co-produced with Eric Radcliffe. Clocking in at barely two minutes in its original form, it made its impact with some rousing blues based sequenced dance pop; it became a US club favourite when it was remixed by Francois Kevorkian who later worked with KRAFTWERK and DEPECHE MODE.

Available on the YAZOO boxed set ‘The Collection’ via Mute Records

https://twitter.com/yazooinfo

ROBERT GÖRL Mit Dir (1983)

Following DAF’s Virgin album trilogy produced by Conny Plank, the duo broke up in a haze of sex, drugs and sequencer. Drummer and synthesist Robert Görl signed to Mute as a solo artist and began his account with the standalone single ‘Mit Dir’. Dark, brooding and magnificent, the song was co-produced by Daniel Miller and went on to become a favourite among the cognoscenti, reinterpreted for Prada commercials and covered by DJ HELL with STEREO MCs.

Available on the ROBERT GÖRL album ‘Night Full Of Tension’ via Mute Records

http://www.robert-goerl.de/

HARD CORPS To Breathe (1985)

Polydor A&R man Malcolm Dunbar managed to gain Daniel Miller’s interest to help out on a HARD CORPS track that Martin Rushent had started. “It was an offer we could not refuse and ‘Respirer’ duly ended up being completed with Daniel producing” said the band’s Clive Pierce, “So now we had two of the best ‘electronic’ music producers in the UK both helping on our track”. Exquisitely Gallic, Polydor however released ‘Respirer’ in English as ‘To Breathe’ but it was not the hit that they were seeking.

Available as ‘Respirer’ on the HARD CORPS album ‘Metal & Flesh’ via Sub Culture Records

http://www.hardcorps.co.uk/

NITZER EBB Join In The Chant – Gold! (1987)

Chelmsford’s NITZER EBB were founded by school friends Douglas McCarthy and Bon Harris. Originally produced by Pete Waterman associate Phil Harding, the ambiguous chants of “muscle and late, lies, lies, gold, gold” in ‘Join In The Chant’ encouraged exactly as the title suggested in the manner of a DAF body sculpture. Daniel Miller and Flood’s Gold! restructure took out the Balearic beats and pushed forward a more Teutonic industrial thrust complete with metallic tools to boot.

Available on the NITZER EBB album ‘Body Of Work’ via Mute Records

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

ERASURE Supernature – Daniel Miller & Phil Legg Remix (1990)

ERASURE were not shy about doing cover versions with ‘Gimme! Gimme! Gimme!’ and ‘River Deep Mountain High’ having already been reinterpreted by this point. Andy Bell and Vince Clarke’s take on Marc Cerrone’s electronic disco landmark saw Daniel Miller and Phil Legg present this tight electro-dance remix extended to over seven minutes. Miller and Legg got together again for DEPECHE MODE’s ‘Enjoy The Silence’.

Available on the ERASURE deluxe album ‘Wild!’ via Mute Records

https://www.erasureinfo.com/

CHRIS & COSEY Synaesthesia – Daniel Miller Mix (1991)

After leaving THROBBING GRISTLE, Chris Carter and Cosey Fanni Tutti became a popular cult duo with their experimental pop utilising electronics, sampling, rhythms and even cornet alongside Cosey’s distinctive nonchalant vocals. Superbly sinister but beautiful metallic synthpop, ‘Synaesthesia’ exuded hints of PET SHOP BOYS ‘Euroboy’ but a good year before it. Daniel Miller’s brilliant rework took on a different groove to the harder bleepy house laden original.

Available on the CHRIS & COSEY single ‘Synaesthesia’ via Conspiracy International

http://www.chrisandcosey.com/

SUNROOF Hero (1998)

SUNROOF is Daniel Miller’s project with Gareth Jones who he first worked with on DEPECHE MODE. Exploring their love of Kosmische, it was perhaps no surprise that they covered the symbolic NEU! track ‘Hero’. Given a pulsing electronic treatment, the alluringly detached vocals came from Alison Conway who has part of the Mute family as a member of  AC MARIAS, a project which also featured Bruce Gilbert and Barry Adamson.

Available on the album ‘A Homage to NEU!’ (V/A) via Cleopatra

http://www.garethjones.com/

POPPY & THE JEZEBELS Sign In, Dream On, Drop Out! – Richard X Meets Larry Least Mix (2012)

POPPY & THE JEZEBELS were a school band based in Birmingham signed to Mute Song. ‘Sign In, Dream On, Drop Out!’ was superbly playful girly synthpop with the ‘Isolation’ bassline borrowed from JOY DIVISION bouncing around in electronic form while sinister Maggie Thatcher voice samples echoed. Originally produced by Richard X, Larry Least came out of retirement when the girls persuaded Miller to remix the track using his trusty Korg 700s synth.

Available on the POPPY & THE JEZEBELS single ‘Sign In, Dream On, Drop Out!’ via Gunball Machine

https://mutesong.com/writers/poppy-and-the-jezebels/

WRANGLER Theme From Wrangler – Daniel Miller rework (2016)

The brief from WRANGLER to remixers of tracks from their album ‘LA Spark’ was simple: “We provide some basic stems from a track selected by you from our debut album ‘LA Spark’ and you add whatever sounds you like – the only rule being that you use just one analogue modular synthesiser system of your choice.” Sweetened by flanged string machine, Daniel Miller provided a gliding rumbling bassline over a metronomic kick on his rework of ‘Theme from Wrangler’.

Available on the WRANGLER album ‘Sparked: Modular Remix Project’ via MemeTune Records

https://www.facebook.com/mallinderbengewinter/

Text by Chi Ming Lai with thanks to Simon Helm and Volker Maass
Photos by Simon Helm
4th June 2020

FINLAY SHAKESPEARE Solemnities

24 April 2020 /


For Bristol-based Finlay Shakespeare, his interest in synthesizers came from his parents’ record collection, with iconic music from the likes of JEAN-MICHEL JARRE, KRAFTWERK, THE HUMAN LEAGUE and JAPAN.

An independent musical device manufacturer, he founded Future Sound Systems, building modular synthesizer components, predominantly for the Eurorack format. But with his own music, his complex modular construction and anxious theatrics were inspired by Warp Records stalwarts AUTECHRE.

With a crystal clear modular synth sound coupled to claustrophobic vocals like they were buried in a box in the manner of FAD GADGET, among those impressed was Neil Arthur who invited Shakespeare to tour with BLANCMANGE in 2019. Live, he possessed the persona of a restless IT technician, delivering a hybrid of THE FAINT, THE KILLERS and THE BRAVERY dreaming of wires rather than guitars.

The material on his debut album ‘Domestic Economy’ was initiated by improvisation whilst being recorded live, with one of its highlights ‘Amsterdam’ being an example in modern Motorik. But ‘Solemnities’ is a definite progression, offering more shape and structure than its predecessor, but maintaining a distinct post-punk anguish.

Finlay Shakespeare said on Twitter: “Many of these tracks are becoming weirdly prescient with the current situation. I hope it’ll bring some degree of comfort, but simultaneously bring about some kind of call to arms. Things have to change and soon.”

The opening track ‘Occupation’ is superb, a metronomic squelch fest about social injustice which sees an angry and impassioned Shakespeare conduct a raucous avant noise experiment in song with penetrating noise percussion and icy retro-futuristic string machines.

The following ‘Fortune’ sounds almost synthpop in comparison; rather like Daniel Miller, Eric Random, Chris Carter, Thomas Leer and Robert Rental morphed into one, it is cold enough to be credible but melodic enough to have been in the charts back in the day alongside John Foxx, Gary Numan and Dindisc-era OMD.

‘The Information’ recalls THE HUMAN LEAGUE when Martyn Ware and Ian Craig Marsh were helming the instrumentation, particularly ‘The Path Of Least Resistance’ although with more of a percussive groove. However, as the synths starting ringing, it steadily mutates into Da League MkII with echoes of ‘Love Action’. Moving at a more energetic pace and with Shakespeare’s honest vocals complimenting the backdrop, ‘Second Try’ makes good use of a tight pulsating bassline and synth generated rhythms like THROBBING GRISTLE reworking KRAFTWERK’s ‘The Robots’.

The banging techno punk of ‘Crisis’ is hypnotic and poignant to the current world health emergency, embroiled in a wall of thrusting energy, electronic voice approximations and screeching synths for something oddly euphoric. Its urgent on-message vocal charge isn’t far off from being an electronic take on THE JAM; an odd comment maybe but what’s not widely known is that Paul Weller was a fan of the John Foxx-led ULTRAVOX!

‘Fantasy’ is less shouty and more haunted vocally for what could only be described as an industrial ballad. The eerie electronic texturing and a multi-tracked choir of himself then mutates into a crystalline passage driven by heavy militaristic drum samples and ending with the blast of a deep synthetic kazoo section!

The metallic shiver of the frantic ‘She Says / Nothing Ends’ closes with a sub-eight minute epic. At times, it does sound like a range of crockery is being bashed in the manner of DEPECHE MODE’s ‘Shout’, but as the track builds with layers of sequenced electronics and Shakespeare’s snarling voices, it verges on being almost trippy like a banging trance version of THE FAINT.

Wrapped in a marvellous dynamic tension with a balance of melody and freaky angst, Finlay Shakespeare delivers a fresh take on the experimental side of Synth Britannia that is strangely pop, but will satisfy those seeking more of a colder mechanised edge.

‘Solemnities’ contains a captivating mixture of flavours that work well together, capturing the intense spirit of his live performances. There are a number of acts being hailed as the new saviours of electronic pop, but Finlay Shakespeare is the real deal, a gloriously wayward soul who simultaneously is also intriguingly disciplined.

‘Solemnities’ is released by Editions Mego in vinyl LP and digital formats, available now from https://editionsmego.bandcamp.com/album/solemnities

http://finlayshakespeare.com/

https://www.facebook.com/FinlayShakespeareUK/

https://twitter.com/FinShakespeare

https://www.instagram.com/finlayshakespeare/

https://www.futuresoundsystems.co.uk/

https://open.spotify.com/album/6ULuwiMRH1q4lm5scs6KHb

Text by Chi Ming Lai
Photos by Rob Davison and Chi Ming Lai
24th April 2020

THE INVINCIBLE SPIRIT Interview

14 October 2019 /

The musical vehicle of Thomas Lüdke, German EBM veterans THE INVINCIBLE SPIRIT first gained wider recognition in Europe with ‘Push!’ in 1986.

THE INVINCIBLE SPIRIT’s debut album ‘Current News’ featuring songs like ‘Make A Device’ became a cult favourite, inspiring Norwegian electro rockers APOPTYGMA BERZERK along the way.

Meanwhile, Thomas Lüdke’s towering stage presence and dark alternative club sound made THE INVINCIBLE SPIRIT an appealing concert proposition.

Beginning life as THE INVINCIBLE LIMIT, Thomas Lüdke has also been involved in side projects such as GOD IS LSD, SOMA and THE MAO TSE TUNG EXPERIENCE. Although currently very active on the live circuit with a notable opening slot with APOPTYGMA BERZERK on their recent Summer tour, THE INVINCIBLE SPIRIT’s last album ‘Anyway’ came out in 2015.

A single entitled ‘Nein!’ was issued in 2017, but with the release of possibly his most accessible song yet in ‘Coming Home’, Thomas Lüdke has promised a new album very soon. In a break from recording, Thomas Lüdke spoke about the past, present and future of THE INVINCIBLE SPIRIT.

How did THE INVINCIBLE SPIRIT come to its tense Teutonic electronic sound?

I never had the impression of sounding particularly Teutonic. But the harder electronic bass sounds, I liked very much when I started to make music. Maybe it’s the influence of the dark basement where I started. 🙂

Many people also claimed the early TIS sound was very grim. I, on the other hand, always had a positive attitude. Probably you cannot just deny its origin. 🙂

Was it always your intention to work solo in THE INVINCIBLE SPIRIT?

No, in the beginning I always wanted a band. And I formed this band for my first project. But since there were different opinions in the approach, I decided to start a second project with THE INVINCIBLE SPIRIT. There I composed the music alone and had only guest musicians for live performances.

Had DAF and DIE KRUPPS been much of an influence on you?

DIE KRUPPS rather less, but mostly it was FAD GADGET, KRAFTWERK, DAF and JEAN MICHEL JARRE (in that order). In addition, during my childhood I was influenced by Rock ‘n’ Roll (Beatles, Buddy Holly) and Country (Johnny Cash). My dad liked to hear this music and he also played me DAF for the first time. 🙂

How did you decide that you would express yourself in English rather than German?

I think English words sound better with my music. Maybe I’m also negatively influenced by Deutsche Schlager music, I do not really like this kind of music. 🙂

Your breakthrough was with ‘Push!’, can your remember what happened from recording the song to it getting heard?

When the song was finished in one night, I went to my favourite nightclub the next day and the DJ played the song. The response was immediately very good. Many people came to the DJ and wanted to know if this is already available. Also my record label Last Chance Records was immediately enthusiastic and released the record in a short time. It was almost an instant success.

How do you look back on the ‘Current News’ album released by ZYX Records?

I did ‘Current News’ under a certain pressure of time. After the success of ‘Push’, the label wanted to quickly release a long-playing record. I was very dissatisfied with some songs and especially the studio sound. This could have been better. Nevertheless, it seems to have been received well by many people.

What synthesizers and machines were you using then? Did you have a favourite?

I have worked a lot with Kawai SX-210, Casio CZ-5000, Yamaha TX-802, Yamaha TG-77 and Yamaha RX-5. I first used the built-in sequencer of the CASIO CZ-5000 for ‘Push!’ and ‘Make A Device’. Later I used the Atari ST with the Notator / Creator software. The TX-802 is still one of my favourites. Except for the RX-5 drum machine, I still have all the devices.

Was ‘Make A Device’ a reflection of the Cold War tensions of the period?

Of course, like many people back then, I was also worried that somebody would “push the button”. But otherwise I was and am rather an apolitical person. But ‘Make A Device’ is more about not falling into lethargy and getting your life under control. But of course, it cannot be ruled out that the “Basic Sadness” was created by the signs of the times. 🙂

You recorded two more albums ‘The Rollercoaster Revolution’ and ‘Can Sex Be Sin’, but then things went comparatively quiet for THE INVINCIBLE SPIRIT until the ‘Faster Life’ EP, what happened?

There was a burden of ‘Push!’. My music for some time was always reduced to this song. Also the record label and the management wanted me to do something like ‘Push!’ again. Also in this business, you often meet people who just want to take advantage of you. When I realised this, I needed a break and distance from these people. I still played live and composed new songs. But I just did not publish these songs anymore.

What made you decide on a ‘comeback’?

As I said, I did live performances all the time. The spark was only in the year 2012, it flared up again at a performance at the WGT in Leipzig. The audience’s resonance was so overwhelming that I decided to get really active again, but this time with the plan to take everything completely in my own hands, without a record label or management. So in 2015, I founded my own record label.

The 2015 album ‘Anyway’ had a lot of songs, it was like you had a lot of feelings bottled up to channel into music again?

On ‘Anyway’, there are many songs that have emerged over the years, but these usually were only in a demo song character. For ‘Anyway’, I picked it up again and composed it to the end. As a result, the album became very varied. I’ve never followed just one musical genre anyway. I like being diverse.

Was the mighty ‘Hate You’ based on personal experience? Had making the song been cathartic?

‘Hate You’ is more to be seen with a smile. I did not really felt hate for anyone or anything when I wrote the song. But of course, it’s fun to let out the feelings during live performances. In addition, ‘Hate You’ for me is the official successor to ‘Push!’. So for live performances, I mix the songs a bit together. 🙂

Do you feel that the modern environment of social media, downloading and streaming makes things easier or more difficult for an artist like yourself?

Well, on the one hand, it makes me a bit more independent of the music industry. On the other hand, the ways a song distributes itself on the internet are hard to control for a small label.

YouTube and Facebook etc are difficult to contact. When I uploaded ‘Push!’ to my YouTube channel for the first time in 2015, the channel was closed for a few weeks and I was accused of copyright infringement. I then clicked through YouTube for a long time and also clicked the hook for a legal dispute. Then it was quiet again and they finally understood. 🙂

What is ‘Irregular Times’ which was recorded as THE MAO TSE TUNG EXPERIENCE about?

It is about a teacher who despairs of the increasing lack of interest in his students. And he holds that out to them, in an ironic way. The original singer of the song Wilfried Peffgen was a teacher. Unfortunately, he died a few years ago, at the age of 70.

The new single ‘Coming Home’ has already been performed live and is maybe lighter than some of your other material, what was it inspired by and how did it develop as a song?

Actually, I had been working on a different song when I had the idea to the main melody of ‘Coming Home’. I stayed with it and finished the song in one day. The text basically treats the feeling of coming home from a few concert days and looking forward to seeing the familiar faces again.

You recently remixed ‘Backdraft’ for APOPTYGMA BERZERK and toured with them, how did this kinship begin and continue?

It was Per Aksel Lundgreen, who wrote me a few months ago on Facebook and made me the offer for the remix. Back then, he told me the story of how Stephan Groth of APOPTYGMA BERZERK became inspired to make music himself after hearing the ‘Current News’ album. Stephan liked my remix and he offered me, to support APOP on the German tour.

What do you think has been your proudest moment as THE INVISIBLE SPIRIT, either with an occasion, or a song or an acknowledgement?

This was the moment at the E-Tropolis in Oberhausen, when Stephan from APOP first told the story that he became a musician himself through my music. I have already been told this by some bands, but no-one has publicly stated so far. That made me very proud. 🙂

What’s next for THE INVINCIBLE SPIRIT?

Work on a new album is in full swing. Unfortunately, everyday life occasionally throws you back a little. Otherwise, it would already be finished. But I’m still in a good mood 🙂

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Thomas Lüdke

‘Coming Home’ is released as a digital single via the usual platforms, while the album ‘Anyway’ is also still available

THE INVINCIBLE SPIRIT play 6 Jahre KatzenCLUB-FESTIVAL in Munich with DIVE + TYING TIFFANY on Saturday 2nd November 2019

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Text and Interview by Chi Ming Lai
14th October 2019

The Best Of FAD GADGET

1 August 2019 /

Although originally released 18 years ago on CD, this compilation of Frank Tovey’s singles-based material as FAD GADGET is now debuting on vinyl for the first time with an identical track listing spread over four sides.

Looking back retrospectively, one can see how Tovey’s incarnation as FAD GADGET provided a perfect middle ground between DEPECHE MODE’s early synthpop and the darker Industrial (and often verging on the unlistenable) experimentation of acts such as THROBBING GRISTLE.

Born 1956 in London, Tovey was the first artist to work with Daniel Miller at his fledgling Mute Records and quickly gained notoriety not just for his recorded work. Tovey’s live performances often saw him (literally) suffering for his art, precariously climbing to the top of venue stages or balconies during ‘Back to Nature’ and ripping out his pubic hair and throwing it into the audience.

Tovey was never afraid to explore the darker side of life and ‘The Best Of’ rounds up the 1979-1985 A + B sides released as FAD GADGET and one ‘Luxury’ which was released under his own name.

FAD GADGET’s debut single ‘Back To Nature’ was primarily constructed using his own primitive electronic set-up of an early Korg Minipops drum machine and Crumar electric piano fed through a distortion unit, plus Daniel Miller’s soon to become iconic ARP2600 semi-modular synthesizer.

Starting with simulated electronic animal sounds, octave synth bass and a lyric which is based around a caravan holiday in Canvey Sands, ‘Back To Nature’ brilliantly set the template for Tovey’s work as FAD GADGET; exploring similar themes of alienation as his contemporary GARY NUMAN, but from a far more bitter, world-weary standpoint rather than a dystopian Sci-Fi based one.

Second single ‘Ricky’s Hand’ pushed lyrical themes to a far darker place, being a cautionary tale warning of the perils of drink driving. Notable for the use of a Black & Decker V8 electric drill as a jarring percussive instrument and secondly the still stunning moment where the vocal by BJ Frost (Tovey’s girlfriend) dissolved seamlessly into a screaming modulated synth line at the climax of the track. ‘Ricky’s Hand’ also featured some truly wonderful sequencer work by Miller and an early appearance from the ARP2600 generated kick drum which would eventually become a mainstay on the debut DEPECHE MODE and YAZOO albums.

Of the B-sides featured here, both ‘Insecticide’ and ‘Lady Shave’ showcase Tovey’s experimentation with vocal dynamics and effects, becoming a fly in the former and screaming “shave it!” throughout the latter with added tape delay to enhance the effect.

FAD GADGET peaked commercially with the ‘Under The Flag’ album which is represented here by three tracks. The album saw a shift up in production quality and the appearance of Blackwing Studio’s newly acquired Roland MC4 Microcomposer which allowed for the multiple sequencing of parts at the same time. The tracks ‘Love Parasite’ with its proto funk-based synth bassline and ‘For Whom The Bells Toll’ (featuring a certain Alison Moyet on backing vocals) both remain highpoints in the FAD GADGET back catalogue.

However, if ELECTRICITYCLUB.CO.UK could pick out a FAD GADGET Desert Island Disc, then it would have to be ‘Life On The Line’; starkly emotive and written under the shadow of the Falklands War, the addition of live piano to Tovey’s electronics helps to humanise the piece and make it an all-time electronic classic.

Photo by Peter Gruchot

Once Mute started to invest in sampling technology, it was only natural that Tovey would begin to gravitate towards using it, eventually collaborating with German industrial metal-bashers EINSTÜRZENDE NEUBATEN on the single ‘Collapsing New People’ which featured a sample of a printing press as a rhythmic backbone for the track. This era provided a turning point for Tovey as he started to move away from electronics and towards a far more acoustic aesthetic, eventually culminating in the jettisoning of the FAD GADGET name.

Tovey would then take a complete U-turn in 1989 with a cover of the English folk song ‘Sam Hall’ and recording primarily acoustically with the albums ‘Tyranny & The Hired Hand’ and ‘Grand Union’, the latter featuring his new backing group of Irish musicians called THE PYROS. In 1993, Tovey withdrew from the music business, but a comeback which started with a high profile support slot on DEPECHE MODE’s ‘Exciter’ tour was tragically cut short when he suffered a fatal heart attack in 2002 at the age of 45.

2020 will see a new career-spanning box set of FAD GADGET material to tie in with the 40th anniversary of the ‘Fireside Favourites’ album, but in the meantime, vinyl lovers of darker electronic music would be foolish not to invest in this superb collection of one of the true innovators of synthetic music.

‘The Best of FAD GADGET’ is still available on CD but is reissued as a double silver vinyl LP as part of the MUTE 4.0 (1978>TOMORROW) series on 6th September 2019, pre-order from https://mutebank.co.uk/products/fad-gadget-the-best-of-fad-gadget-silver-double-vinyl

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Text by Paul Boddy
1st August 2019

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