The single is the lifeblood of pop music, serving the purpose of a trailer to an artist’s new album or as an entity on its own.
The non-album single first came to prominence with THE BEATLES and THE WALKER BROTHERS, but as rock music in particular got more serious, bands like PINK FLOYD and LED ZEPPELIN looked down on the shorter format, refusing to even release singles and focussing only on albums.
With punk and new wave, acts like THE JAM, THE CLASH and SIOUXSIE & THE BANSHEES frequently issued standalone singles, often as a document of developing ideals or even to indulge in the occasional cover version. But others like Ian Dury saw it as statement of not ripping-off their audience by effectively making them buy the same song twice.
All the singles listed here were released in 7 inch format and not included on any of the artist’s original edition albums in the UK. Songs that were singles to promote compilation albums, remix collections or films are permitted, but singles by bands that did not actually get round to releasing a full length album are not included.
So here are ELECTRICITYCLUB’CO.UK’s 25 Classic Standalone Synth Singles presented in chronological, and then alphabetical order.
FAD GADGET Ricky’s Hand (1980)
The unsettling second single by former Leeds Polytechnic art student Frank Tovey was a commentary on the dangers of drink driving as “Ricky contravened the Highway Code”. Featuring an electric drill alongside assorted synths and industrial rhythms, ‘Ricky’s Hand’ was not included on the debut FAD GADGET long player ‘Fireside Favourites’ that came out a few months later, but it helped establish Mute Records’ credentials as an early champion of independent electronic music.
Now available on the album ‘The Best Of’ via Mute Records
John Foxx’s first release after the ‘Metamatic’ period recalled his twilight years with ULTRAVOX and in particular ‘Slow Motion’. Featuring live drums from Edward Case, guitars were replicated by treated layers of ARP Odyssey. While not as accomplished as ‘Slow Motion’, ‘Miles Away’ was a worthy transitional recording although where Foxx headed next was the more romantic and band oriented textures of ‘The Garden’.
With JAPAN not making any headway in the UK singles charts, their manager Simon Napier-Bell felt the only solution was to doa cover version. David Sylvian visited his parents’ Motown collection and the song he chose was a lively Smokey Robinson number. Slowed down and given a more arty Ferry-ish treatment, ‘I Second That Emotion’ was not a hit on its original release, but the world belatedly caught up when a remixed reissue reached No11 in 1982.
With a haunting string line from an ARP Omni, ‘Love Will Tear Us Apart’ was the posthumous hit single that documented the relationship turmoil which JOY DIVISION’s lead singer Ian Curtis was facing prior to his suicide. The initial attempt at recording had been much faster and tighter, but producer Martin Hannett slowed the band down and suggested Curtis take on a more Sinatra based drawl. The looser end result added further poignancy.
A statement on his fractious relationship with the press, incessant riffs, flanged guitar and swooping Polymoog provided melody, grit and tension in equal measures. Meanwhile, real drums and a Roland Compurhythm combined to provide a solid but unusual backbone. It was not included on the original LP version of ‘Telekon’, but did feature on the cassette. Numan felt he was giving value to his fans, but casual followers didn’t buy the album as a result and it affected wider sales momentum.
Now available on the album ‘Premier Hits’ via Beggars Banquet
‘I Love This Life’ was the first release from THE BLUE NILE and the esoteric template that later emerged on ‘A Walk Across The Rooftops’ was already omnipresent. Rawer and more aggressive than songs like ‘Stay’ and ‘Tinseltown In The Rain’, this was a fine opening gambit from the enigmatic Glaswegian trio who had met at university. Originally self-released, the single was picked up by RSO who promptly folded after its re-release.
Smothered in ARP Quartet and electronic drums but maintaining the claustrophobic feel of that year’s ‘Faith’ album, the haunting ‘Charlotte Sometimes’ co-produced by Mike Hedges was an interim 45 prior to the doomfest of ‘Pornography’. The band’s potential for success now looked like a real threat as The Raincoat Brigade seeked out a successor to JOY DIVISION. But in late 1982, THE CURE lightened up for the first of their fantasy singles, ‘Let’s Go to Bed’.
Following the politically charged electro-funk of ‘(We Don’t Need This) Fascist Groove Thang’, Martyn Ware and Ian Craig Marsh returned to their roots in THE HUMAN LEAGUE with the more exclusively synth driven ‘I’m Your Money’. The multi-lingual phrases highlighted an expanding world market while Glenn Gregory provided commentary on how personal relationships were like business transactions.
Having scored an unexpected UK hit with the beautiful synth laden ‘I Hear You Now’, Jon & Vangelis did it again with ‘I’ll Find My Way Home’, a song that had not been originally included on their second album ‘The Friends Of Mr Cairo’. Jon Anderson’s lyrics were almost spiritual while the widescreen sonic backing from his Greek chum complimented the mood. Vangelis himself was about to enter his most high profile period with ‘Chariots Of Fire’ and ‘Blade Runner’.
It’s strange to think now that when CHINA CRISIS first emerged with ‘African & White’, they were quite uptempo and percussive, influenced by TALKING HEADS and MAGAZINE. ‘Scream Down At Me’ was unusual in many respects, being more dynamic than most of the material that featured on their debut album ‘Difficult Shapes & Passive Rhythms…’; the single showcased a degree of frantic art funk tension that was never to be repeated by the band.
Following the cult success of his debut album ‘The Golden Age Of Wireless’, Thomas Dolby sent up the mad scientist image he had accquired by actually employing a real mad scientist in Doctor Magnus Pyke for his next single. Produced by Tim Friese-Greene, this slice of gloriously eccentric synthpop had been recorded as a non-LP one-off, but its chart success in America led to ‘She Blinded Me With Science’ being appended to the album.
‘What!’ effectively bookended Marc Almond and Dave Ball’s imperial pop period which had started with ‘Tainted Love’. Another song that came via the Northern Soul scene, it was originally recorded by Judy Street and had more than a passing resemblance to ‘Always Something There To Remind Me’. The recording was quickly disowned and was to be SOFT CELL’s last Top10 single before the duo entered much darker musical territory and on the path to ‘Mr Self Destruct’.
An occasional trait of standalone singles was how they were often quickly recorded and rush-released, due to an impending tour or greatest hits. In the case of YAZOO, it was the former. One of only three co-writes by Alison Moyet and Vince Clarke, this bright if almost forgettable tune has been described by Moyet as “hateful”. However, ‘The Other Side of Love’ allowed Clarke to put his new Fairlight CMI through its paces, while a gospel flavour came from SYLVIA & THE SAPPHIRES.
Now available on the album ‘The Collection’ via Music Club Deluxe
DURAN DURAN Is There Something I Should Know? (1983)
Released in the interim between the ‘Rio’ and ‘Seven & The Ragged Tiger’ albums, ‘Is There Something I Should Know?’ was a cynical attempt to ensure DURAN DURAN got a UK No1. Nick Rhodes made it clear the song was not going to be on the next album while completely different versions featured on the 7 and 12 inch formats. This synth laden single featured that dreadfully unforgettable line “You’re about as easy as a nuclear war”!
Now available on the album ‘Greatest’ via EMI Music
THE HUMAN LEAGUE were in limbo after the departure of producer Martin Rushent from the sessions to record a follow-up to the massive selling ‘Dare’. A song he worked on was prepared for single release to buy the band some extra time. Subsequently remixed by Chris Thomas, ‘Fascination’ featured a charming four way call-and-response vocal while the huge use of portamento on the lead synth line fooled buyers into returning their singles to the shops thinking it was warped!
Now available on the album ‘Greatest Hits’ via Virgin Records
Borrowed from Paul Hindemith’s ‘Heiter Bewegt – Sonate Für Flöte Und Klavier’ composed in 1936, an Emulator was used to synchronise voices and mechanical sounds to a marvellous electronic percussion pattern. ‘Tour De France’ successfully reinforced KRAFTWERK’s credibility within Urban America. But feeling left behind in comparison to THE ART OF NOISE, Ralf Hütter demanded their upcoming ‘Technopop’ album to be reworked with a Synclavier’…
Dark and brooding, the debut single from the DAF drummer became a highly regarded cult classic. The slow stark Teutonic electro of ‘Mit Dir’ was considerably less harsh than his band’s pioneering electronic body music. Although not featured on Görl’s first solo album ‘Night Full Of Tension’, ‘Mit Dir’ did much to help lighten his mood considerably that he was attempting synthpop with EURYTHMICS’ Annie Lennox on songs like ‘Darling Don’t Leave Me’.
ULTRAVOX had a run of 11 successive Top30 singles in their classic Midge Ure-fronted incarnation so when ‘The Collection’ was being prepared by Chrysalis Records, the band suggested including a new track which was an unusual move for the time. Based on a demo rejected by Levi’s for an ad campaign, the huge symphonic pomp of ‘Loves Great Adventure’ was a brilliantly glorious statement with Billy Currie’s OSCar interventions being its undoubted musical highlight.
An important interim single for DEPECHE MODE, ‘Shake The Disease’ was the bridge between the industrial flavoured synthpop of ‘Some Great Reward’ and the darker aesthetics of ‘Black Celebration’. Much more accomplished than the more throwaway standalones like ‘It’s Called A Heart’ and ‘But Not Tonight’ which followed, ‘Shake The Disease’ continues to be performed live at DM shows in a less interesting stripped down form with Martin Gore on lead vocals.
With ambitions to break the US market, SIMPLE MINDS were offered a song written by Steve Chiff and producer Keith Forsey for a John Hughes movie ‘The Breakfast Club’. The song had already been rejected by Billy Idol and Bryan Ferry, so was reluctantly recorded by the band at a studio in Wembley. With the right balance of synths and FM rock, ‘Don’t You’ became an unexpected American No1 on the back of the movie’s success and took Jim Kerr and Co into the stadiums of the world.
Post-Moroder, SPARKS had returned Stateside to hone a more rock-orientated sound. But they returned to their more eccentric side with ‘Change’, a one-off for London Records. Engineered by Dan Lacksman of TELEX, it featured a sonic passage that would have made Trevor Horn proud. Lines such as “I’ve been thinking we’ll get back together again someday – your hair will be some weird color by then…” reminded European audiences of how quirky SPARKS could be.
Love it or loathe it, OMD’s contribution to the ‘Pretty In Pink’ soundtrack was a massive US hit and the reason why youngsters are still discovering the band. Produced by Tom Lord-Alge, while the Fairlight assisted sound appears at odds with Paul Humphreys and Andy McCluskey’s pioneering synthpop, the intro of ‘If You Leave’ actually follows a chord progression very similar to ‘Enola Gay’. Interestingly, the song failed to enter the Top40 on its release in the UK.
Now available on the album ‘Messages’ via Virgin Records
When NEW ORDER issued their ‘Substance’ 12 inch singles collection, 9 out of its 12 songs had not featured on their previous albums. The Diego Maradona inspired ‘Touched By The Hand Of God’ is one of the Mancunian’s combo’s more underrated singles. With a synth riff borrowed from Shannon’s ‘Let The Music Play’, it successfully combined some gritty rock energy to a solid Italo disco backbone featuring a great sequenced bassline.
Recorded for the ‘Crackers International’ EP between ‘The Innocents’ and ‘Wild!’, ‘Stop!’ was a throbbing Moroder-inspired disco tune that borrowed counter-melodies from Donna Summer’s ‘Love’s Unkind’. Independent labels such as Mute and Factory were more likely to indulge in releases that weren’t specifically tied in to albums, and it proved to be a perfect move to maintain ERASURE’s profile while they were preparing their next plan of action.
PET SHOP BOYS Where The Streets Have No Name (1991)
Chris Lowe felt that the opener on U2’s ‘The Joshua Tree’ would make a good HI-NRG track. A cheeky send-up of how Bono and Co would often drop snippets of covers into live versions, ‘Can’t Take My Eyes Off Of You’ made famous by Andy Williams was segued into ‘Where The Streets Have No Name’. It all seemed so camp and ridiculous in the video when Neil Tennant was singing it wearing a Stetson, but then in 1992, out popped Bono doing something similar on their ‘Zoo TV’ tour!
Now available on the album ‘Pop Art’ via EMI Music
The recent release of the ULTRAVOX! 4 CD box set ‘The Island Years’ was a timely reminder that their one-time leader John Foxx has had a music career that has spanned over four decades.
Born Dennis Leigh, his first recorded work was a ROXY MUSIC styled cover of ‘Ain’t Misbehavin’ for an arthouse adult film of the same name, as a member of TIGER LILY. The quintet comprising of Foxx, Warren Cann, Chris Cross, Billy Currie and Stevie Shears renamed themselves ULTRAVOX! and signed a deal with Island Records.
Reinforcing their art rock aspirations seeded by THE VELVET UNDERGROUND and Bowie, ULTRAVOX! secured the production input of synth pioneer and label mate Brian Eno for their self-titled debut in 1977. Two albums later, they began to make headway with a template inspired by the emergent electronic bands from Germany such as KRAFTWERK, CLUSTER and NEU!
However, Foxx became disillusioned with the restrictions of a band format and departed ULTRAVOX! in 1979 for a solo career; the end result was the ‘Metamatic’ album, released in 1980 on Virgin Records. Recorded at Pathway, an eight-track studio in Islington using an ARP Odyssey, Elka Rhapsody 610 and Roland CR78 Compurhythm, the seminal long player yielded two unexpected hit singles in ‘Underpass’ and ‘No-One Driving’.
Foxx said of that period: “You felt like some Film Noir scientist inventing a new life-form in the basement. I also think it was the beginning of Electro-Art-Punk or something like that. A strange wee animal. Seems to have bred copiously with everything available and still survived – right to this day”. In the years since, John Foxx has continued to innovate within electronic, experimental and ambient spheres. Despite this, he is still very much under rated, especially compared with artists who benefited from his influence.
Gary Numan has always acknowledged his debt to the synth rock overtures of ULTRAVOX! while DEPECHE MODE’s admiration of ‘Metamatic’ led to its incumbent engineer Gareth Jones working with the band on their own Berlin Trilogy of ‘Construction Time Again’, ‘Some Great Reward’ and ‘Black Celebration’.
So with a vast repertoire to his name, what tracks in his various guises would act as a Beginner’s Guide to the man referred to affectionately as Lord Foxx Of Chorley? This is not intended to be a best of chronology, more a reflection of highly divergent career. With a restriction of one recording per album project, ELECTRICITYCLUB.CO.UK lists its #Foxx20.
ULTRAVOX! My Sex (1977)
Using Brian Eno’s Minimoog with a knob marked with a sheep sticker to indicate it made woolly sounds, Billy Currie’s classical sensibilities combined with Foxx’s detached dissatisfaction for ‘My Sex’. Of Eno, Foxx said, “It was good to hear his stories and enact his strategies. He wasn’t greatly experienced in studio craft but he was a good co-conspirator, someone with a useful overview, who understood where we wanted to go. He was just what we wanted, really. A sort of art approach to recording”
Available on the ULTRAVOX! album ‘Ultravox!’ via Island Records
ULTRAVOX! Hiroshima Mon Amour (1977)
Utilising Warren Cann’s modified Roland TR77 rhythm machine, this was Foxx moving into the moody ambience of CLUSTER, away from the aggressive attack of interim 45 ‘Young Savage’. ‘Hiroshima Mon Amour’ had been premiered as a spiky uptempo number for the B-side of ‘ROckWrok’. The ‘CC’ credited on saxophone is not Chris Cross, but a member of GLORIA MUNDI fronted by Eddie & Sunshine who later appeared with Foxx on ‘Top Of The Pops’.
Available on the ULTRAVOX! album ‘Ha! Ha! Ha!’ via Island Records
ULTRAVOX! Quiet Men – 12 inch version (1978)
Relocating to Cologne to work with the legendary Conny Plank on ‘Systems Of Romance’, ULTRAVOX! became more texturally powerful thanks to Billy Currie’s ARP Odyssey, the EMS Synthi AKS of Chris Cross and new guitarist in Robin Simon. ‘Quiet Men’ was a perfect integration of all those elements attached to a rhythm machine backbone. Of the even punchier 12 inch rework, Foxx said “We remixed it so that Warren’s metal beats would shred speakers”
Available on the ULTRAVOX! box set ‘The Island Years’ via Caroline International
JOHN FOXX He’s A Liquid (1980)
“I want to be a machine” once sang Foxx and he went the full hog with the JG Ballard inspired ‘Metamatic’. His mission was to “Make a language for the synth and the drum machine”. The deviant ‘He’s A Liquid’ was pure unadulterated Sci-Fi: “I think it was a bit of punk electronica at the right time – just before everyone else raided the shed. Historically, perhaps it defines an impulse – something that wasn’t possible before – one man and some cheap machines making music independently”.
Available on the JOHN FOXX album ‘Metamatic’ via Edsel Records
JOHN FOXX Europe After The Rain (1981)
Foxx admitted he had been “reading too much JG Ballard” and had thawed considerably following ‘Metamatic’. Now exploring beautiful Italian gardens and taking on a more foppish appearance, his new mood was reflected in his music. Moving to a disused factory site in Shoreditch, Foxx set up ‘The Garden’ recording complex and the first song to emerge was the Linn Drum driven ‘Europe After The Rain’. Featuring acoustic guitar and piano, Foxx had now achieved his system of romance.
Available on the JOHN FOXX album ‘The Garden’ via Edsel Records
ANTENA The Boy From Ipanema (1982)
Before NOUVELLE VAGUE, French-Belgian combo ANTENA hit upon the idea of merging electronic forms with a samba cocktail style. Released on the prestigious Belgian label Les Disques Du Crépuscule who Foxx contributed ’A Jingle’ for the compilation ‘From Brussels With Love’, he produced their cover of ‘The Boy From Ipanema’, adding robotic textures via The Human Host. Much lighter that any of his own work, it was also quite sinister, making this a unqiue curio in the John Foxx portfolio.
Available on the ANTENA album ‘Camino Del Sol’ via Les Disques du Crépuscule
JOHN FOXX Ghosts On Water (1983)
Foxx had envisioned ‘The Golden Section’ as “a roots check: Beatles, Church music, Psychedelia, The Shadows, The Floyd, The Velvets, Roy Orbison, Kraftwerk, and cheap pre-electro Europop”. Working with Zeus B Held, the album had a psychedelic electronic rock flavour, liberally seasoned with vocoder effects and samplers. With folk laden overtones and some frantic percussion work from HAIRCUT 100’s Blair Cunningham, ‘Ghosts On Water’ was one of the album’s highlights.
By 1985, Foxx had lost his way and got embroiled in attempting a more conventional pop sound. With its sax sample lead line, ‘Shine On’ showed Foxx could deliver a fine pop tune but he wasn’t happy: “I simply didn’t like the mid to late eighties scene – all perfect pop and white soul. I suddenly felt isolated. I remember one day finding myself half-heartedly toying with some sort of sh*tty pop music while longing to be out of the studio and working on something visual. So I thought right that’s it – time for a change”.
Available on the JOHN FOXX album ‘In Mysterious Ways’ via Edsel Records
NATION 12 Remember (1990)
Foxx made an unexpected return to music with an acid house inspired number produced by Tim Simenon of BOMB THE BASS fame: “It was a great experience – a new underground evolving from post-industrial Detroit, using analogue instruments rescued from skips and pawn shops… Tim Simenon turned up wanting me to do some music… so Foxx was out the freezer and into the microwave…” – the other material that was recorded didn’t see the light of day until 2005.
Available on the NATION 12 album ‘Electrofear’ via Tape Modern
JOHN FOXX Sunset Rising (1995)
‘Cathedral Oceans’ saw Foxx developing his interest in ambient forms fused with Gregorian chants, as exemplified by ‘Sunset Rising’. But the project had an extremely long genesis with the first recordings made in 1983. Inspired by his brief period as a choir boy, when asked what this material gave him that songs couldn’t, he answered: “Well, they cover a different emotional and sonic spectrum – more concerned with tranquility and contemplation. Music with beats can’t address this at all”.
Weaned on ‘Metamatic’, Louis Gordon was a natural collaborator for Foxx’s song based comeback. Over four albums, it confirmed that Foxx still had that inventive spark within electronic music. Noisy and percussive, ‘Dust & Light’ recalled the unsettling Dystopian standpoint with which Foxx had made his pioneering impact. ‘Drive’ and ‘Automobile’ continued the theme, although Foxx sustained his interest in more psychedelic forms via songs like ‘An Ocean We Can Breathe’.
Available on the JOHN FOXX & LOUIS GORDON album ‘Crash & Burn’ via Metamatic Records
HAROLD BUDD & JOHN FOXX Subtext (2003)
With beautiful piano and processed electronics, the sparse ‘Subtext’ was very reminiscent of Harold Budd’s 1984 Eno collaboration ‘The Pearl’. From the ‘Translucence’ album which was twinned with the more discreet, sleepier textures of ‘Drift Music’, it was smothered in echoes and reverberations galore as slow atmospherics and glistening melodies esoterically blended into the ether.
JOHN FOXX & ROBIN GUTHRIE My Life As An Echo (2009)
The ‘Mirrorball’ album with COCTEAU TWINS’ Robin Guthrie took textural guitars and echoing piano into a dreamworld that he could now enter. ‘My Life As An Echo’ was a beautiful instrumental which stopped short of being fully ambient thanks to its live drum loop. Other tracks such as ‘Estrellita’ and ‘The Perfect Line’ saw Foxx adding Glossolalia to the soundscape, recalling not only ‘Cathedral Oceans’ but Guthrie’s work with former partner Elizabeth Fraser.
Available on the JOHN FOXX & ROBIN GUTHRIE album ‘Mirrorball’ via Metamatic Records
JOHN FOXX & THE MATHS featuring MIRA AROYO Watching A Building On Fire (2011)
Joining forces with Benge, Foxx found the perfect foil for his earlier analogue ambitions, only this time combined with a warmth that had not been apparent on ‘Metamatic’, or his work with Louis Gordon. The best track on their debut album ‘Interplay’ was a co-written duet with Mira Aroyo of LADYTRON entitled ‘Watching A Building On Fire’. With its chattering drum machine and Trans-European melodies, it was a successor to ‘Burning Car’.
Available on the JOHN FOXX & THE MATHS album ‘Interplay’ via Metamatic Records
GAZELLE TWIN Changelings – JOHN FOXX & THE MATHS remix (2012)
Foxx and Benge became extremely prolific and a number of remixes appeared, the best of which was for GAZELLE TWIN aka Elizabeth Bernholz. She said: “John and Benge’s remix of ‘Changelings’ was really delicate and elegant. It’s one of my favourites of all the remixes because it doesn’t alter the song much at all. I love the addition of John’s vocal in there too. It was perfectly suited. I am so flattered that they chose to put (it) on the new ‘Evidence’ album”.
Available on the JOHN FOXX & THE MATHS album ‘Evidence’ via Metamatic Records
JOHN FOXX & JORI HULKKONEN Evangeline (2013)
Foxx and Jori Hulkkonen had worked together on ‘Dislocated’ and ‘Never Been Here Before’ for the Finnish producer’s albums ‘Dualizm’ and ‘Errare Machinale Est’ respectively, but never before on a body of work. The ‘European Splendour’ EP took on a grainier downtempo template and the lead track ‘Evangeline’ possessed a glorious pastoral elegance and an otherworldly anthemic chorus.
Available on the JOHN FOXX & JORI HULKKONEN EP ‘European Splendour’ via Sugarcane Records
JOHN FOXX & STEVE D’AGOSTINO The Forbidden Experiment (2014)
With a Dystopian backdrop, Foxx returned to the more mechanical approach with Steve D’Agostino for the soundtrack of Karborn’s experimental short film. Described as “a unique investigation of the terrors and pleasures of temporal displacement”, it was “a sinister sonic architecture of drum-machine-music and analogue synthesizers”. The rumbling rush of ‘The Forbidden Experiment’ was a favourite of Foxx enthusiasts who preferred his instrumentals to have more rhythmic tension.
GHOST HARMONIC saw Foxx and Benge alongside Japanese violinist Diana Yukawa. Foxx said: “the underlying intention was we all wanted to see what might happen when a classically trained musician engaged with some of the possibilities a modern recording studio can offer…” – the result was a startling dynamic between Yukawa’s heavily treated violin and the looming electronics. The closing album title track was an opus of soothing bliss.
Available on the GHOST HARMONIC ‘Codex’ via Metamatic Records
JOHN FOXX The Beautiful Ghost (2015)
‘London Overgrown’ was Foxx’s first wholly solo ambient release since the ‘Cathedral Oceans’ trilogy. With the visual narrative of a derelict London where vines and shrubbery are allowed to grow unhindered, ‘The Beautiful Ghost’ was like Beethoven reimagined for the 23rd Century with beautiful string synths in a cavernous reverb. Recalling William Orbit’s ‘Pieces In A Modern Style’, this was an accessible chill-out record that encompassed emotion and subtle melody.
Available on the JOHN FOXX album ‘London Overgrown’ via Metamatic Records
JOHN FOXX & THE MATHS A Man & A Woman (2016)
‘A Man & A Woman’ was a surprise in that it was less rigid than previous JOHN FOXX & THE MATHS recordings. Featuring the enchanting voice of Hannah Peel, it was a departure that even featured some acoustic guitar flourishes. Despite this, vintage synths were still a key element to his mathematical theories: “Analogue is a bit more complex – still mysterious and rebellious. Digital is more controllable. Use where necessary. Avoid anything with a multi-function menu!”
“I always seem to write about a man, a woman and a city. It’s because I am an urban creature most of the time”:John Foxx
’21st Century: A Man, A Woman And A City’ is a new compilation that gathers John Foxx’s song based work from since the turn of the millennium. After a hiatus between 1986 to 1995, Foxx has since been extremely prolific, dividing his time between a number of pop-oriented, ambient and soundtrack projects. The first section of this collection is laid out chronologically, beginning with Foxx’s material recorded with Louis Gordon, his main collaborator on his comeback.
‘A Funny Thing’ from 2001’s ‘The Pleasures Of Electricity’ sounds particularly interesting in today’s context, with the jazzier, deep house inflections being quite different from how Foxx is now. But songs like 2005’s beautifully treated ‘Never Let Me Go’ confirmed that Foxx still had that inventive spark.
But it was when Foxx teamed up with synth collector extraordinaire Benge to form JOHN FOXX & THE MATHS that he became fully re-engaged in the electronic pop realm which he helped to pioneer. Using an array of vintage synthesizers, the feisty growl of ‘Catwalk’, the serenity of ‘Interplay’ and the electro-folk of ‘Evergreen’ all possessed a mechanised charm while simultaneously providing some vital correlative warmth. The parent album ‘Interplay’ was possibly Foxx’s most complete and accessible body of work since ‘Metamatic’.
Continuing with the mathematical solution, from the swift follow-up ‘The Shape Of Things’, the fantastically motorik ‘Tides’ came over like an electronic NEU! Meanwhile from the third Maths album ‘Evidence’, the title track in collaboration with THE SOFT MOON was a surreal slice of post-punk psychedelia, like Numan meeting Syd Barrett! But the most complete track Foxx produced in this period turned out to be the grainy, pastoral elegance of ‘Evangeline’ with Finnish producer Jori Hulkkonen.
The main act of ‘21st Century: A Man, A Woman And A City’ concludes with two previously unreleased songs by JOHN FOXX & THE MATHS; both are highly worthy inclusions. ‘A Many Splendoured Thing’ features pristine pulsing sonics with crisp percussive taps a la ‘The Man Machine’; it’s Foxx goes to Kling Klang.
But ‘A Man And A Woman’ throws in a less rigid formula with some loose, hand played electronic percussion and the enchanting voice of Hannah Peel. It’s an interesting departure that even features some subtle acoustic guitar flourishes by Isobel Malins. Continuing on the six string theme, ‘Estrellita’ from the ‘Mirrorball’ album with COCTEAU TWINS’ Robin Guthrie appropriately provides an esoteric musical interlude, before the compilation’s appendix of assorted collaborations and remixes.
Although not a song written by Foxx, his and Benge’s serene reinterpretation of GAZELLE TWIN’s ‘Changelings’ highlighted not only the synthesized magic of the partnership, but also how the influence of Foxx was interwoven seamlessly into the Brighton-based songstress’ art.
Following JOHN FOXX & THE MATHS’ rework of ‘Dresden’, the reciprocal arrangement delivers a previously unreleased OMD remix of ‘The Good Shadow’. Working around its shimmering arpeggio, Paul Humphreys adds more of the beautiful Synth-Werk that made OMD’s last album ‘English Electric’ such a return to form. Meanwhile, the ADULT. Remix of ‘The Shadow Of His Former Self’ naturally takes on a more punky, techno stance.
Originally a solo track from ‘The Shape Of Things’, ‘Talk’ has now become a collaborative platform for Foxx to explore different approaches from a singular idea with other kindred spirits; on ‘21st Century: A Man, A Woman And A City’, two of these are included.
The first is the previously released ‘Talk (Beneath My Dreams)’ version with Matthew Dear; Foxx provides the cascading bass laden intro before Dear adds a steadfast four-to-the floor beat and a deep sinister voiceover, which could be mistaken for a pitch-shifted Foxx.
But the second version is a brand new, long-awaited collaboration with Gary Numan. Numan’s take on the track is meaty. Retitled ‘Talk (Are You Listening To Me?)’, it predictably screams alienation and fully exploits his haunting trademark overtures, courtesy of some blistering Polymoog from Benge.
The end result is like a wonderful audio mutual appreciation society: “John Foxx has been a hero of mine for my entire adult life” said Numan, “It was a real honour to finally have the chance to contribute to one of his tracks… it was every bit as creative, unusual, demanding, and rewarding, as I always expected it to be”.
Foxx is currently in the studio working on new music. Like SPARKS, John Foxx has been so prolific over the years that it can be challenging to keep up with all his releases. But as much as some of his hardcore following have expressed dismay at countless reissues and compilations, Foxx’s work is still under-appreciated, even within the more general circles of electronic pop music.
So for many, ‘21st Century: A Man, A Woman & A City’ will be an opportunity to catch up with the more accessible side of his work from the last 16 years. For those still not entirely convinced of Foxx’s contribution to the synthesized music world, it acts an ideal entry point into some of his best electronically focused work since ‘Metamatic’.
’21st Century: A Man, A Woman & A City’ is released by Metamatic Records as a CD and download on 27th May 2016. A limited deluxe CD+DVD edition is also available and features 11 videos filmed in Tokyo by Macoto Tezka, featuring music by JOHN FOXX & THE MATHS
Two years in the making, ‘Close To The Noise Floor’ is a Cherry Red Records compilation which binds together many of the formative roots of UK electronic music.
It mixes up recognised artists such as THE HUMAN LEAGUE, BLANCMANGE, BEF, OMD and THROBBING GRISTLE side-by-side with those that for a variety of reasons, managed to remain in the shadows of obscurity. This compilation makes a worthy companion piece to the ‘Mute Audio Documents’ set which was released back in 2007 and showcases that it wasn’t just Daniel Miller’s Mute label that was championing experimental synthetic music.
The four disc set lovingly curates an era of musical experimentation of artists initially “enthralled by the mysterious electronics of PINK FLOYD, HAWKWIND and German Kosmiche artists” and then went on to evolve into a scene, which would provide the stepping stone for the chart-conquering likes of DEPECHE MODE and Gary Numan.
In this 60 song collection, there are a few definite gems hidden here; ‘Tight As A Drum’ by Thomas Leer is a sparkling piece of electronic music, with KRAFTWERK-ish percussion and a semi-improvised synth solo winding its way throughout. ‘Holiday Camp’ by BLANCMANGE which made its re-appearance on the reissued ‘Irene and Mavis’ EP still remains an almost OMD-ish charming lo-fi slice of electronica.
‘I Am Your Shadow’ by the distinctly un-rock’n’roll sounding Colin Potter is an out-there electronic reimagining of Dick Dale’s ‘Miserlou’ combined with added lyrics from a stalker’s perspective, whilst ‘D’Ya Think I’m Sexy?’ (yes, that one!) by BRITISH STANDARD UNIT is transformed from its Rod Stewart sleazy / cheesy original into a hilariously dark and twisted piece with deadpan lyrics and menacing electronics.
‘Drugrace’ by THE PASSAGE has some wonderful almost TANGERINE DREAM style synth melodies and ‘(Leaving Me) Now’ by WORLDBACKWARDS is like a long-lost Gary Numan track with female vocals and added sampled dialogue.
Disc three of the set changes direction in that it mainly showcases instrumental or more soundscape-oriented electronic pieces. It is here that sees instrumental synthesists Mark Shreeve (‘Embryo’) and Paul Nagle (‘Yns Scaith’) gaining some long overdue recognition – whilst Jean-Michel Jarre, Klaus Schulze and TANGERINE DREAM dominated this genre, it is easy to forget that there was a thriving underground scene in the UK too.
Although as you would expect from a collection of music of this type, a lot of it is (putting it kindly) “challenging”, or if listened to as a teen “back in the day” would have a probably prompted a parental response of “turn that bloody racket down!”.
‘Sedation Strokes’ by Malcolm Brown on disc one neatly falls into this particular category with a cyclical bassline overlaid with what sounds like a mix of an elephant being abused and a screaming woman thrown in for good measure.
Unsurprisingly, ‘All Day’ by THROBBING GRISTLE falls into this category too and alongside tracks such as ‘In The Army’ by BLAH BLAH BLAH, these are pieces that are unlikely ever to appear on your typical ‘Now That’s What I Call Synthpop’ compilations any day soon!
However, songs which have since been recognised as classics of the genre also feature (‘Being Boiled’ by THE HUMAN LEAGUE being the most obvious), but thankfully the choices are not always predictable, hence ‘Almost’ by OMD, rather than the ubiquitous ‘Messages’ and an alternative mix of ‘A New Kind of Man’ by John Foxx features instead of ‘Underpass’ or ‘No-One Driving’.
The main feeling you are left with after listening to ‘Close To The Noise Floor’ is how the punk DIY ethic of four track portastudio production and affordable synths, with a probable lack of A&R involvement, became the ultimate glass ceiling for these acts being able to break through to a wider audience and any form of commercial success. ‘Back to the Beginning’ by SPÖÖN FAZER would be a typical case in a point, a potential hit with a killer chorus given a bigger budget and some quality control in the lyrical department… “You want babies with curly hair, well come on, dance if you dare”(!).
The ‘Close To The Noise Floor’ package itself also contains over 9,000 words of artist sleeve notes, archive photographs and extracts from Sounds journalist Dave Henderson’s ‘Wild Planet’ overview of the underground / industrial electronic music scene. Although you may find yourself listening to some of these tracks only once, there is plenty here to give you an appreciation of a wildly experimental and creative era, the likes of which we are unlikely to see again…
Mark Reeder has carved out an impressive reputation for his catalogue of fine remixes.
When Mark Reeder spoke to ELECTRICITYCLUB.CO.UK in 2011 about his remixing style, he said: “I’m old school. I like to still be able to hear the song, but give it my own signature and atmosphere, while at the same time use as many of the original elements as possible”.
He had moved to West-Berlin from Manchester in 1978, having become fascinated by the artistic diversity of the city and was Factory Records representative in Germany between 1978 to 1982. He is credited with introducing Bernard Sumner to the world of electronically propelled dance music, thus being instrumental in the development of NEW ORDER’s influential hybrid sound.
After the fall of the Berlin Wall, Reeder had great success with his electronic dance music record label Masterminded For Success (MFS). For the last few years, Reeder has been heavily involved in a documentary film about his adopted home city:
“’B-Movie (Lust & Sound in West-Berlin)’ is about the forgotten city of West-Berlin during the 80s. When the Berlin Wall fell in November 1989, not only did communist East Germany cease to exist, but the walled-in island of West-Berlin did too. Most people have forgotten, or have no idea how the city was back then. In ‘B-Movie’, I guide the viewer through this decade, but as the film is also about my life in this city too, I show you some of the things I saw and experienced during the 1980s, while participating in what has now become, the legendary subkultur of West Berlin.”
In a break from his hectic worldwide schedule promoting ‘B-Movie (Lust & Sound in West-Berlin)’, Mark Reeder kindly gave an insightful commentary into the tracks that shaped his own musical career.
DIE UNBEKANNTEN Radio War (1981)
Reeder formed DIE UNBEKANNTEN with Alistair Gray when he settled in West-Berlin.
We were actually given the name DIE UNBEKANNTEN by a journalist, who saw our feeble first gig at the SO36. That gig was supposed to have been just a one-off, but he was surprisingly impressed and thought we were very avant-garde and apparently enjoyed our miserable performance.
In his magazine review of the event, he just called us two unknown Englishmen and from then on, people just called us DIE UNBEKANNTEN (“The Unknown”). A few weeks later, we played at the Genial Dilletanten Festival and were inadvertently presented as ‘Necropolis’, which was actually the title of our intro track.
A while later, after Elisabeth Recker of Monogam Records witnessed what was probably our most chaotic performance – we were on acid – she believed we would fit perfectly with the abstract style of the rest of the artists on her record label.
Our Swiss friend Thomas Wydler became our drummer and we recorded a three track EP featuring ‘Radio War’, ‘Poseidon’ and ‘Casualties’. The record not only sounded nothing like any of Monogam’s previous releases, but it also caused a lot of controversy because of my design for its front cover image (a photo depicting three East German border guards) and the striking Germanic style of type face which I had chosen.
Our second, and final DIE UNBEKANNTEN record, was much more electronic. By this time, Thomas had left us and joined DIE HAUT and we had gone back to using a drum machine and had also acquired some more electronic instruments. Our friend, Adrian Wright from THE HUMAN LEAGUE gave us a brand new drum computer to test for him.
He had actually been asked to try out a very early prototype Roland TR606, but couldn’t be bothered and so he gave it to us to trial for him, so along with the Transcendent 2000 (the very same one which Bernard Sumner had played in JOY DIVISION with) and a Moog that Klaus Schulze had also given us, we immediately went into the studio and recorded ‘Don’t Tell Me Stories’ for our ‘Dangerous Moonlight’ EP. This became the first record to feature a Roland TR606.
One of the bands who grabbed Reeder’s attention in West-Berlin were the uncompromising all-female combo MALARIA!
I already knew Bettina Koester and Gudrun Gut from their first band MANIA-D. Musically, their approach was so different from anything I had ever heard before, as the conventional rules of male dominated rock and roll didn’t apply to the way these girls made music at all and that was what made them so exciting.
They were no virtuosos, but that didn’t matter one bit, because it was exactly that ingredient which made their music so interesting. After Beate Bartel left MANIA-D to form LIAISONS DANGEREUSES, Gudrun and Bettina formed MALARIA! a five piece all-girl band and quite an international one too, being a mixture of German, American and Dutch.
Their striking, on-stage image, all dressed in black with bright red lips, is considered a Goth image nowadays; but back in the 80s, MALARIA! did it first, and after their debut appearance in London with THE BIRTHDAY PARTY, this image was obviously hi-jacked from them for the Robert Palmer video ‘Addicted To Love’, even to the point of making the emphasis that the girls in his video also couldn’t play their instruments.
At some point very early on, I became their manager. At that time, I was the only man allowed into their sphere, and because I knew what the band wanted to sound like live, I also became their sound engineer too and naturally, as I also had my own band, DIE UNBEKANNTEN, we became their support band. The girls trusted me, they knew I understood their ideology and I liked their music and most importantly, I didn’t interfere.
Reeder’s own musical journey has to an extent, mirrored that of Bernard Sumner’s. DIE UNBEKANNTEN morphed into SHARK VEGAS to become a more electronic and disco friendly proposition.
After performing for nearly four years as DIE UNBEKANNTEN, we were asked by NEW ORDER if we would like to accompany them on their European tour after the success of ‘Blue Monday’.
We decided this would be a good moment to change our name and musical style, especially after adding two new members to our band. Besides, after our first disastrous London performance in the Barracuda Club, I thought DIE UNBEKANNTEN was much too difficult to pronounce outside of Germany, as people thought we were called DIE UNBEKANNTEN as in “Death Unbekannten” and so we urgently needed a new name and image.
Me and my partner-in-crime, Alistair Gray just threw a few ideas together one night and SHARK VEGAS became our name. I wanted something obscure sounding that didn’t actually mean anything apart from it being our band name.
Al and I were huge fans of pulsating electronic dance music – most probably since ‘I Feel Love’ – and the small Berlin underground gay-disco scene, which ran parallel to the abstract avant-garde scene, was the place to go and always a great way to spend a late Friday and Saturday night, before finally crashing and burning in the Risiko club.
Besides, musically, DIE UNBEKANNTEN had already been moving away from being depressive and miserable and had become much more electronic high energy disco too, so this tour proposal presented itself as a welcome opportunity to literally, regroup.
During a short break in the NEW ORDER tour, we went into Conny Plank’s studio with Bernard Sumner and recorded our first single ‘You Hurt Me’, but the session was a bit of a disaster, as the studio engineer had a slipped disc and was in terrible pain. He had to lie on a camp bed in front of the mixing desk and shout instructions up to us, while Conny Plank spent all his time playing table tennis in the yard outside. That single became FAC111.
‘Love Habit’ was one of the tracks we initially recorded during the session for the FacUS ‘Young, Popular & Sexy’ compilation. We were asked to perform ‘Love Habit’ for a video, for a special Berlin edition of ‘Music Box’, Britain’s first cable TV music show and using my US Army AFN contacts, I managed to get permission to make our video on the divided Glienickebrücke (the so-called ‘Bridge of Spies’). In the video, we appear as beaten up and tortured spies in raincoats, as if we had just been let out of an East German prison.
Unfortunately, the US army forgot to inform the Soviet Army that we were making a video on the bridge and so, on the East side there was a right flap on. They sent out East German patrol boats to find out what we were doing on the bridge. I guess they thought we were trying to provoke World War III. ‘Love Habit’ was intended to be an album track, but it became one of the last songs we recorded as SHARK VEGAS and it was never released, at least not until we included it on the recent ‘B-Movie’ soundtrack.
Released on East German state label AMIGA, DIE VISION’s ‘Torture’ was the last album to be recorded in communist East Berlin in 1989 and featured Reeder as producer.
I was invited by the band to be the producer for their debut album. At first it seemed incredible that they had actually managed to get the AMIGA to agree, as no-one from the West had ever been allowed in their state-run recording studio.
It transpired that because the band were allowed officially to sing in English(ese), they agreed to let them have an English-speaking producer too. In reality, I later discovered, the STASI wanted to know what kind of subversive activity I was involved in, especially after helping to arrange two illegal and meanwhile legendary secret gigs with West German punk band DIE TOTEN HOSEN in East Berlin. So I guess this was their brilliant plan to keep a close watch on me.
DIE VISION’s singer Uwe, was studying English at the Humbolt University – to be able to do that, you had to speak fluent Russian too – and he was so very insistent that I come over and produce their album. So I did. What an opportunity. Now, forming a band in communist East Germany was very, very difficult. It was nothing like forming a band in the West.
You couldn’t just go into a shop and buy a guitar, bass and drums and bash away. Everything was controlled by the Communist state, especially music. Before you could play to the public, your ability was first considered, then your song lyrics scrutinised to see if there were any subversive hidden anti-state messages and even getting electric instruments was difficult, you needed permits to first buy and then one to play, an electric guitar in public.
Then as a band, you performed before a group of people, who would assess your proficiency. This determined if, when, or where you might be able to play, eg youth clubs and how much you would get paid. DIE VISION had quite a sudden rise in popularity in the East and rather than ban them, the Authorities decided to sign them, that way everything would be under control. That is, until I came along…
As we were making this album, the GDR was literally falling apart. It was very difficult making this album with a feeling of imminent doom hanging over the studio and with constant power fluctuations, people fleeing to the West and general grumbling unrest. I called the album ‘Torture’ because it was exactly that to make!
Available on the DIE VISION album ‘Torture’ via AMIGA / Zong & Vulture Records
PAUL VAN DYK Words – Original Version radio edit by Paul van Dyk, Wolfgang Ragwitz + Mark Reeder (1996)
In 1990, Reeder established MFS and discovered Trance DJ Paul van Dyk…
One of my first artists on MFS, COSMIC BABY made some great records, but DJs kept complaining that they couldn’t play them because he always had DJ-unfriendly intros. I suggested he find a DJ who could help him to construct DJ friendly intros to his tracks.
One night, Cosmic was performing live in the Turbine club. One of the warm up DJs was a young lad called Paul van Dyk. The two hit it off almost immediately and I suggested that Paul come to the office the following Monday to discuss working with Cosmic. Paul told me he was from Hamburg, but it later turned out he was originally from Eisenhuettenstadt in deepest East Germany, but had moved to East Berlin before applying to leave East Germany for Hamburg shortly before the wall came down.
I was actually very happy to hear he was from East Germany, because that was my initial intention with MFS to create a platform for young Eastie kids; he was my first.
One night, he came to me while I was working in my bar and begged me to help him to become a professional DJ.
He was working as an apprentice carpenter at that time and absolutely hated it. I told him, if he would promise me that he would work hard to be the best DJ in the world, then I would help him to achieve his goal. I told him there were no prizes for second best.
I put him in the studio with Cosmic and they recorded two amazing singles together as THE VISIONS OF SHIVA.
Then I let him remix HUMATES’s track ‘Love Stimulation’ and that remix attracted a lot of attention. I knew from the start that he could do it simply because he was ambitious enough. He didn’t know it at that time of course, because his talent had to be coaxed out of him. By giving him a platform and motivation and the help of Johnny Klimek’s studio, he was able to discover his own music making talent.
Of course, I believed absolutely in Paul and invested everything, love, creativity, all my time and effort and all I had in propelling him onto an international stage. I guided and advised him, compiled and mastered his records, designed his covers and basically created the legend of Paul Van Dyk.
I used my contacts and credibility to get him high profile remixes, such as ‘Spooky’ by NEW ORDER and even answered his interviews, anything which would enhance his credibility, profile and status. Sadly, once he had reached the brink of DJ superstardom, he decided he no longer needed me and ditched me without a word of thanks.
SAM TAYLOR-WOOD & PET SHOP BOYS I’m In Love With A German Filmstar – Stuck In The 80s remix (2008)
The ‘Fifty Shades Of Grey’ film director recorded a number of covers with her favourite pop duo like ‘J T’aime… Moi Non Plus’, ‘Love To Love You Baby’ and this new wave classic…
Neil Tennant and Chris Lowe asked me to do this remix after hearing the mix I had made of ‘Miracle Cure’ featuring Bernard Sumner for BLANK & JONES. It was quite thrilling being asked to do this song, as I’ve always loved the original.
The PET SHOP BOYS / Sam Taylor-Wood version was more minimalistic and techno sounding though, so I thought I would make mine more retro-modern-disco sounding. I thought, as its going to be released on Kompakt, they are probably going to have banging techno remixes done anyway.
I know they were completely surprized at the label to hear it, because they really expected me to make some sort of cheesy trance mix. It is such an iconic and mystical song though, and I was worried I would be able to do it justice as a dance track. I made three different versions, a long mix and two shorter mixes and all in 5.1 surround sound, which I put on ‘Five Point One’.
I was very pleased when Sam said she thought it was “wicked” and totally relieved that the Boys also liked it too. But when THE PASSIONS contacted me themselves, to tell me that they really loved it, well, that was like a stone being lifted from my heart.
Available on the MARK REEDER remix album ‘Five Point One’ via Kennan Limited
BLANK & JONES, MARK REEDER Manifesto – Save Yourself Mix (2009)
Reeder collaborated with popular German dance duo BLANK & JONES on a restyling project entitled ‘ReOrdered’ which featured Bernard Sumner, Robert Smith and Claudia Brücken. But one of the album’s highlights was ‘Manifesto’ featuring Vanessa Daou.
‘Manifesto’ was actually the third track of Vanessa’s that I reworked for ‘ReOrdered’. The first was ‘Consequences’.
I really liked her voice and her lyrics though and I asked BLANK & JONES if I could rework another track, that was ‘Heart Of Wax’. After that, the idea for ‘ReOrdered’ was born and I would go on to rework all BLANK & JONES’ vocal-dance tracks into songs, it was a bit like back engineering a remix. The first two tracks were quite soft, so I wanted ‘Manifesto’ to be a little tougher and sound more like a nu-beat track with trippy elements.
Available on the BLANK & JONES, MARK REEDER album ‘ReOrdered’ via Soundcolours
BAD LIEUTENANT Sink Or Swim – Rettungstring Radio remix (2010)
Prior to the recent return of NEW ORDER sans Hooky, Bernard Sumner had an interim, guitar led project BAD LIEUTENANT. However, many followers of NEW ORDER missed the sound Sumner had become synonymous for.
After Hooky decided to leave NEW ORDER, I think Bernard needed some distance and formed BAD LIEUTENANT, together with Jake Evans and the remaining members of NEW ORDER.
Jake is such a talented person and a brilliant guitarist – he’s definitely one to watch in the future. I really liked the parent album ‘Never Cry Another Tear’, it’s a wonderful summer album and I think it is very underrated. I was given the opportunity to do some remixes for them and decided to rework their guitar tracks into electronic dance versions.
‘Sink Or Swim’ was the first and I think I made about six different versions of this track, Bernard took the piss out of me for the amount of mixes we made. The song had been performed live and so the tempo varied within the song from the start to finish, which made it a bloody nightmare to mix into a 4/4 dance track.
To make it sound organic, we had to take all the instruments and slice them up and then carefully put them back together again by hand. It was a mammoth task and at the time, I thought “I never want to have to do that again”.
After ‘Sink Or Swim’, we mixed ‘Twist Of Fate’, which I also made about four or so mixes. The same time consuming slice and move ritual applied as with ‘Sink Or Swim’. As the remixes were only released digitally, I decided to include some of them on my ‘Five Point One’ album, and later, ‘Collaborator’.
Available on the MARK REEDER remix album ‘Collaborator’ via Factory Benelux
JOHN FOXX Underpass – Sinister Subway remix (2010)
Reeder’s reworking of John Foxx’s calling card was mighty and he relished the challenge.
John Foxx was putting together the ‘Metatronic’ compilation album and I was in contact with his manager about something different entirely. During our conversation, he told me about the compilation and I said jokingly that I could do a remix perhaps, as a bonus track.
Well, after they had listened to a few of my remixes, he called and asked me if I would like to remix ‘Underpass’. My studio partner Micha Adam and I couldn’t believe it. It was a dream come true. No-one had ever been allowed to remix this legendary song before and so it was such an honour. Then the reality set in. If I balls this up, the fans will lynch me.
Being a huge fan of the song myself, I decided I could only do it as I would want it to sound myself. Yet I didn’t want to drive too far away from the original though either and wanted to keep as many elements in there as possible.
I was sent the parts, eight tracks in all… but that iconic massive synth riff was missing. All I had been given was the riff, played by a small tinny sounding synth. Well, that was it. I realised, the huge reverb sound was added live, during the mix-down and so we had to reconstruct it.
I recalled what kind of instrumentation and effects they might have used back then and dug out my old Space Echo. Once we had reconstructed the original version, we made a 5.1 mix of it (it is a hidden Easter Egg on ‘Five Point One’). Then, I remixed it. I made three versions, a short radio mix in stereo and 5.1 plus a longer Sinister Subway mix for the ‘Metatronic’ compilation album.
Available on the JOHN FOXX album ‘Metatronic’ via Metamatic Records
Cult goth icon ANNE CLARK is an English poet, who sets her poems to music and is probably more well-known outside of the UK.
Anne is truly a great artist. I first met her when she played in Berlin after recording ‘Sleeper In Metropolis’ with David Harrow, who lived in Berlin at that time. This timeless track is one of my all-time favourite 80s songs and it became almost like an anthem to the divided city, especially so to the kids in the East.
She was (and still is) absolutely adored in the East, mainly because her dark and descriptive poetry set to music, clearly struck a chord with them and it was something they all could identify with. Side two of her first album was recorded with Vini Reilly of THE DURUTTI COLUMN. She kept with the electronic side and made her second album with JOHN FOXX. Over the years, she has cultivated her poetry with a wide variety of musical sounds from Synthetic to Rock to Classical.
After a chance meeting a few years ago, when she performed in the Russian embassy in Berlin, I reworked the track ‘The Hardest Heart’ she had made for BLANK & JONES for our ‘ReOrdered’ album and then I remixed two of her tracks ‘Full Moon’ and ‘If…’ in 5.1 surround sound for my ‘Five Point One’ album,
Available on the MARK REEDER remix album ‘Five Point One’ via Kennan Limited
DEPECHE MODE Sweetest Perfection – Sweetest Conception remix (2011)
Reeder was given the opportunity to rework a track from the ‘Violator’ album by Daniel Miller.
Like ‘Underpass’, this was almost reverential territory. Depeche were putting together the ‘Remixes 2 81-11’ compilation and Daniel asked me if I would like to do a remix for it. By the time I had received the list of possible tracks to remix, all the most popular songs had been taken and so I was left with songs no-one dared to touch.
‘Sweetest Perfection’ was always one of my favourite tracks though and I thought it would be a real challenge to remix. Not only in terms of actually attempting to remix it, but with the thought that as a fan, how would I want it to sound and if I f*cked up, I would probably have to leave the planet.
We already had a really short deadline to finish the remix on and only three days into the mix, I got a call from my mother telling me that my dad had been rushed to hospital with a broken hip after being pushed over. The situation looked very serious, he was a very old man and the doctors didn’t give him much chance of survival. I had to down tools and fly over and consequently, I missed the deadline for submitting my remix for the DM album.
Photo by Anton Corbijn
Fortunately, I was in the process of putting ‘Five Point One’ together and decided to finish the remix anyway and asked Daniel if I could license it for my album. He spoke with the band and they said I could (I was told it was the first time a previously unreleased DM song had ever appeared on another album) and as we were looking for images to accompany the 5.1 mixes, Anton Corbijn kindly gave me one of his old, unseen photos of the band for me to use.
I wanted my remix to retain as many of the original elements as possible, but I added extra strings, more swirling synths and a real bass guitar, as well as my own little riff with a broken piano which I hoped would make it sound a bit more Eastern European.
Available on the MARK REEDER remix album ‘Five Point One’ via Kennan Limited
Reeder took a liking to stop / start Midlands duo ELECTROBELLE and delivered an edgier reimagining of ‘Falling’ before they belatedly released it themselves in 2012!
I heard ‘Mirrorball’ by ELECTROBELLE on the 2009 ‘Electronically Yours’ compilation released by Undo Records. I really liked Charlotte’s vocal style and so I asked them if they would like to contribute a track to my ‘Five Point One’ album.
They sent me the parts of a demo track they had made and this became ‘Falling’. The idea for the ‘Five Point One’ album was to include remixes I had made for famous artists, coupled with lesser known ones and mix them all in 5.1 Dolby surround sound.
Available on the MARK REEDER remix album ‘Five Point One’ via Kennan Limited
While busy remixing legends in synthesized pop, Reeder also kept an eye on newer acts that were emerging from Europe…
I had been a fan of Undo records, FOTONOVELA and MARSHEAUX for a while and after ELECTRICITYCLUB.CO.UK posted a link to one of their tracks, I asked Chi if he could hook us up, as I thought that ‘So Close’ would fit in well on my ‘Five Point One’ album and asked them if I could remix it.
‘So Close’ had a melancholic element, but I wanted to give the song a more filmic feeling and make it even more melancholic, with sweeping strings and added bass guitar. Filmmaker Paul Morgens heard the track and immediately loved it. He made a great video for it made up of old footage he had found in his aunties archive.
Available on the MARSHEAUX deluxe album ‘Inhale’ via Undo Records
Düsseldorf punk veterans DIE TOTEN HOSEN have maintained a long standing kinship with Mark Reeder.
I first met Campino in Bochum. MALARIA! were playing a gig there and he was allocated as my driver. He told me about his new band DIE TOTEN HOSEN and about their hideous, but hilarious high-waisted flared trousers, which they bought by the kilo.
A couple of months later, I became their live sound engineer, and together with my rebelliously minded Eastie friends, I managed to help organise a very secret gig with them in an East-Berlin Church. It was disguised as a religious church service, a so-called Blues Mass. Although heavily monitored, the East German clergy was seen as a passive resistance movement against the communist government and although not officially acknowledged, they were tolerated and thus had a certain amount of flexibility within the system. That way we could arrange our secret gig there using this loophole.
DIE UNBEKANNTEN went on tour with DIE TOTEN HOSEN and one of the highlights was performing in the Kogasz club, in the Karl-Marx-University in Budapest. It was supposed to have been a top secret gig in the Young Artists club to a few music lovers, organised by photographer Janos Veto, but so many people eventually wanted to see the gig, that it was moved to the University.
During this tour we had many problems with our car. DIE TOTEN HOSEN were so sceptical our car would even survive the trip, they bet us a crate of beer, that we wouldn’t make it to Budapest.
We did, but had such a horror trip just trying to get there, as our car kept breaking down. Upon our arrival in the University, Janos told us we couldn’t play! The authorities had decided the gig was illegal and it had officially been pulled, but we thought we have come all this way so f*ck them and we did the gig anyway.
After we had performed, someone stole our drum computer. We were paid in beer vouchers (Hungarian Forints) and had so much of it, we invited everyone in the YAC for drinks, as we couldn’t take the cash out of the country… I don’t remember much about that night after that.
‘Disco’ was a track off the DIE TOTEN HOSEN album ‘In Alle Stille’ and I thought it would be fun to make an Italo disco sounding mix of this track. The original is a fast paced, rock song and when we received the parts, we discovered there were about 40 guitar tracks. We had to apply the same procedure as with BAD LIEUTENANT in slicing and moving all the elements so that they would fit into the new tempo and yet still sound organic.
Available on the MARK REEDER remix album ‘Five Point One’ via Kennan Limited
KOISHII & HUSH featuring JOHN TAYLOR C’est Tout Est Noir – Black Night Remix (2013)
‘C’est Tout Est Noir’ was the DURAN DURAN bassist’s best lead vocal since his solo single ‘I Do What I Do’ in 1986.
KOISHII & HUSH had made a remix for BAD LIEUTENANT’s ‘Twist of Fate’ and after telling me how much they liked my version, they asked me if I would like to remix their track ‘C’est Tout Est Noir’ which they had made together with DURAN DURAN bassist John Taylor.
At first, I thought he would be playing bass guitar on the track, but then to my surprise he was the vocalist. He has a great voice and I really liked the track. The original is quite trancey, so I wanted to make it more cinematic and add some guitar and extra bass. John loved it and immediately used my rough demo as his soundtrack to a vlog he’d made flying from Austria to LA.
Available on the MARK REEDER remix album ‘Collaborator’ via Factory Benelux
A stomping electro disco number produced by Reeder, Elizabeth Morphew’s cooing Bush-like howls and breathy euphoria were a total delight to the ears while the mighty cavernous sound provided the heat!
I saw an ELECTRICITYCLUB.CO.UK piece posted about QUEEN OF HEARTS and I was immediately curious. I really liked Elizabeth’s voice from the moment I heard the first couple of tracks.
Chi thought we might make a nice collaboration and so I got in touch with her to compliment her and she asked me to remix ‘Neon’ which eventually ended up on ‘Collaborator’. We then made a cover version together of Chris Isaak’s ‘Wicked Game’. I then wrote two songs ‘Suicide’ and ‘United’ for her debut album ‘Cocoon’.
Available on the QUEEN OF HEARTS deluxe album ‘Cocoon’ via Night Moves
WESTBAM featuring BERNARD SUMNER She Wants – Old School remix (2013)
Techno legend WESTBAM made his return with the impressive ‘Götterstrasse’ which featured Iggy Pop, Hugh Cornwell, Brian Molko and Lil Wayne. Naturally, Reeder reworked an excellent track featuring the vocals of Bernard Sumner.
My relationship with WESTBAM goes back to the early days when he was trying to establish himself as a DJ in Berlin. He played in the Metropol disco and towards the end of the 80s in the UFO club.
His involvement in the evolution of the Berlin Techno scene is reluctantly accepted, but arguably without his engagement, many things probably wouldn’t have happened. He was a vital participant in parties and events and was the first Berlin DJ to play in the Soviet Union.
While we were putting ideas for songs for ‘B-Movie’ together, he gave us a demo of ‘You Need The Drugs’ featuring Richard Butler of THE PSYCHEDLIC FURS. It was a great track and we all immediately loved it.
He said he was making a songs album and would love to make a track with Bernard Sumner on vocals. He sent Bernard the demo and he really liked the track and agreed to do it. As thanks, I was given the opportunity to remix it which was perfect timing, as I was in the process of putting together my ‘Collaborator’ compilation for Factory Benelux and we could therefore give it a physical release on CD.
Available on the MARK REEDER remix album ‘Collaborator’ via Factory Benelux
MODERN FAMILY UNIT Mmh Mmh Aahh – Eyy & Aarrgghh remix (2015)
Reeder went back to Manchester to rework the local electro wave duo MFU and added some Berlin Burlesque groove.
Dave Haslam told me about MFU and that they would like a remix. They sent me ‘Mmh Mmh Aahh’ and I loved it. I don’t know why, but it reminded me somehow of early ROXY MUSIC. I wanted to make it a bit dancier, but retain its overall atmosphere and add a little bit of Berlin mystique with the zither.
Available on the single ‘Mmh Mmh Aahh’ via GaS Records
From the soundtrack to Our Man In Berlin’s film ‘B-Movie’, it enabled him to musically illustrate his memories of the divided city with a 21st century outlook.
During the ‘B-Movie’ editing process, we wanted to use the DAF track ‘Kebab Träume’ for the burning of the Berlin Wall birthday sequence, but after long and rather unproductive negotiations, they wouldn’t let us have it.
So I decided I would write a track myself, using only a couple of analogue sequencers and synths to accompany this great piece of footage by the incredible Knut Hoffmeister.
When NEW ORDER made their recorded return with ‘Music Complete’, Reeder was given the opportunity to rework some tracks and indirectly became part of their new live show after B-Movie’ was released.
I was asked if I would like to remix a track from the latest NEW ORDER album so I chose one of my favourite songs ‘Academic’, as it seemed like it was up for the challenge, being mainly a traditional style guitar track.
But while I was in Bucharest with ‘B-Movie’ and hanging out with CROWD CONTROL, I got an urgent call asking if I would be able to make a quick remix of ‘Singularity’. I raced back home and immediately started work on it.
It’s a great track and I really enjoyed remixing it. Which is fitting, Bernard was also so impressed with my ‘B-Movie’, that he asked me if NEW ORDER could use some footage for their backdrop video in their live shows.
This was so well received, that it then became the promo video clip for the ‘Singularity’ single. The even faster-cut images and theme of the song work really well together with the music. When NEW ORDER performed recently in Berlin, I was very pleased to have the honour of introducing the band.
Available on the single ‘Singularity’ via Mute Artists
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The unsettling second single by former Leeds Polytechnic art student Frank Tovey was a commentary on the dangers of drink driving as “Ricky contravened the Highway Code”. Featuring an electric drill alongside assorted synths and industrial rhythms, ‘Ricky’s Hand’
John Foxx’s first release after the ‘Metamatic’ period recalled his twilight years with ULTRAVOX and in particular ‘Slow Motion’. Featuring live drums from Edward Case, guitars were replicated by treated layers of ARP Odyssey. While not as accomplished as ‘Slow Motion’, ‘Miles Away’
With JAPAN not making any headway in the UK singles charts, their manager Simon Napier-Bell felt the only solution was to doa cover version. David Sylvian visited his parents’ Motown collection and the song he chose was a lively Smokey Robinson number. Slowed down and given a more arty Ferry-ish treatment, ‘I Second That Emotion’
With a haunting string line from an ARP Omni, ‘Love Will Tear Us Apart’
A statement on his fractious relationship with the press, incessant riffs, flanged guitar and swooping Polymoog provided melody, grit and tension in equal measures. Meanwhile, real drums and a Roland Compurhythm combined to provide a solid but unusual backbone. It was not included on the original LP version of ‘Telekon’, but did feature on the cassette. Numan felt he was giving value to his fans, but casual followers didn’t buy the album as a result and it affected wider sales momentum.
‘I Love This Life’
Smothered in ARP Quartet and electronic drums but maintaining the claustrophobic feel of that year’s ‘Faith’ album, the haunting ‘Charlotte Sometimes’
Following the politically charged electro-funk of ‘(We Don’t Need This) Fascist Groove Thang’, Martyn Ware and Ian Craig Marsh returned to their roots in THE HUMAN LEAGUE with the more exclusively synth driven ‘I’m Your Money’
Having scored an unexpected UK hit with the beautiful synth laden ‘I Hear You Now’, Jon & Vangelis did it again with ‘I’ll Find My Way Home’
It’s strange to think now that when CHINA CRISIS first emerged with ‘African & White’, they were quite uptempo and percussive, influenced by TALKING HEADS and MAGAZINE. ‘Scream Down At Me’ was unusual in many respects, being more dynamic than most of the material that featured on their debut album ‘Difficult Shapes & Passive Rhythms…’; the single showcased a degree of frantic art funk tension that was never to be repeated by the band.
Following the cult success of his debut album ‘The Golden Age Of Wireless’, Thomas Dolby sent up the mad scientist image he had accquired by actually employing a real mad scientist in Doctor Magnus Pyke for his next single. Produced by Tim Friese-Greene, this slice of gloriously eccentric synthpop had been recorded as a non-LP one-off, but its chart success in America led to ‘She Blinded Me With Science’
‘What!’
An occasional trait of standalone singles was how they were often quickly recorded and rush-released, due to an impending tour or greatest hits. In the case of YAZOO, it was the former. One of only three co-writes by Alison Moyet and Vince Clarke, this bright if almost forgettable tune has been described by Moyet as “hateful”. However, ‘The Other Side of Love’
Released in the interim between the ‘Rio’ and ‘Seven & The Ragged Tiger’ albums, ‘Is There Something I Should Know?’
THE HUMAN LEAGUE were in limbo after the departure of producer Martin Rushent from the sessions to record a follow-up to the massive selling ‘Dare’. A song he worked on was prepared for single release to buy the band some extra time. Subsequently remixed by Chris Thomas, ‘Fascination’
Borrowed from Paul Hindemith’s ‘Heiter Bewegt – Sonate Für Flöte Und Klavier’ composed in 1936, an Emulator was used to synchronise voices and mechanical sounds to a marvellous electronic percussion pattern. ‘Tour De France’ successfully reinforced KRAFTWERK’s credibility within Urban America. But feeling left behind in comparison to THE ART OF NOISE, Ralf Hütter demanded their upcoming ‘Technopop’ album to be reworked with a Synclavier’…
Dark and brooding, the debut single from the DAF drummer became a highly regarded cult classic. The slow stark Teutonic electro of ‘Mit Dir’
ULTRAVOX had a run of 11 successive Top30 singles in their classic Midge Ure-fronted incarnation so when ‘The Collection’ was being prepared by Chrysalis Records, the band suggested including a new track which was an unusual move for the time. Based on a demo rejected by Levi’s for an ad campaign, the huge symphonic pomp of ‘Loves Great Adventure’
An important interim single for DEPECHE MODE, ‘Shake The Disease’
With ambitions to break the US market, SIMPLE MINDS were offered a song written by Steve Chiff and producer Keith Forsey for a John Hughes movie ‘The Breakfast Club’. The song had already been rejected by Billy Idol and Bryan Ferry, so was reluctantly recorded by the band at a studio in Wembley. With the right balance of synths and FM rock, ‘Don’t You’
Post-Moroder, SPARKS had returned Stateside to hone a more rock-orientated sound. But they returned to their more eccentric side with ‘Change’
When NEW ORDER issued their ‘Substance’ 12 inch singles collection, 9 out of its 12 songs had not featured on their previous albums. The Diego Maradona inspired ‘Touched By The Hand Of God’
Recorded for the ‘Crackers International’ EP between ‘The Innocents’ and ‘Wild!’, ‘Stop!’
Chris Lowe felt that the opener on U2’s ‘The Joshua Tree’ would make a good HI-NRG track. A cheeky send-up of how Bono and Co would often drop snippets of covers into live versions, ‘Can’t Take My Eyes Off Of You’ made famous by Andy Williams was segued into ‘Where The Streets Have No Name’
via Island Records
via Island Records
, ULTRAVOX! became more texturally powerful thanks to Billy Currie’s ARP Odyssey, the EMS Synthi AKS of Chris Cross and new guitarist in Robin Simon. ‘Quiet Men’ was a perfect integration of all those elements attached to a rhythm machine backbone. Of the even punchier 12 inch rework, Foxx said “We remixed it so that Warren’s metal beats would shred speakers”
via Caroline International
via Edsel Records
via Edsel Records
, he produced their cover of ‘The Boy From Ipanema’, adding robotic textures via The Human Host. Much lighter that any of his own work, it was also quite sinister, making this a unqiue curio in the John Foxx portfolio.
via Les Disques du Crépuscule
via Edsel Records
Foxx made an unexpected return to music with an acid house inspired number produced by Tim Simenon of BOMB THE BASS fame: “It was a great experience – a new underground evolving from post-industrial Detroit, using analogue instruments rescued from skips and pawn shops… Tim Simenon turned up wanting me to do some music… so Foxx was out the freezer and into the microwave…” – the other material that was recorded didn’t see the light of day until 2005.
via Demon Records
via Metamatic Records
via Metamatic Records
via Metamatic Records
via Metamatic Records
via Metamatic Records
via Sugarcane Records
via Metamatic Records
via Metamatic Records
via Metamatic Records
via Metamatic Records
is a new compilation that gathers John Foxx’s song based work from since the turn of the millennium. After a hiatus between 1986 to 1995, Foxx has since been extremely prolific, dividing his time between a number of pop-oriented, ambient and soundtrack projects. The first section of this collection is laid out chronologically, beginning with Foxx’s material recorded with Louis Gordon, his main collaborator on his comeback.
sounds particularly interesting in today’s context, with the jazzier, deep house inflections being quite different from how Foxx is now. But songs like 2005’s beautifully treated ‘Never Let Me Go’ confirmed that Foxx still had that inventive spark.
, the fantastically motorik ‘Tides’ came over like an electronic 
.
package itself also contains over 9,000 words of artist sleeve notes, archive photographs and extracts from Sounds journalist Dave Henderson’s ‘Wild Planet’ overview of the underground / industrial electronic music scene. Although you may find yourself listening to some of these tracks only once, there is plenty here to give you an appreciation of a wildly experimental and creative era, the likes of which we are unlikely to see again…
, Mark Reeder kindly gave an insightful commentary into the tracks that shaped his own musical career.
(V/A) via DEF Media
(V/A) via DEF Media
via AMIGA / Zong & Vulture Records
via MFS
featuring Bernard Sumner for BLANK & JONES. It was quite thrilling being asked to do this song, as I’ve always loved the original.
via Kennan Limited
via Soundcolours
via Factory Benelux
via Metamatic Records
via Mute Artists
is available now on DVD, Bluray and download
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