JOHN FOXX & THE MATHS release a 16 track single CD version of The Shape Of Things which was first available as a 2CD deluxe set on their most recent UK tour.
The collection features starker, reflective material that didn’t fit into the overall pop concept of ‘Interplay’ recorded by Mr Foxx and his erstwhile partner-in-crime Ben Edwards aka Benge. Lyrically, the subject matter centres around feelings of loss over opportunities and lovers missed. Artistically interluded by several instrumental collages with titles such as ‘Modreno’, ‘Psytron’, ‘Astoria’ and ‘Buddwing’, the album is cinematic but in an understated way.
Following the short HASSELL/ENO-esque Possible Musics of ‘Spirus’, ‘Rear-View Mirror’ sunbursts through, the pulsing synthetics of yesterday’s tomorrow combined with reverbed Linn Drum and a strong but swimmy riff. Meanwhile, ‘Talk’ is reminiscent of Benge’s own ‘Twenty Systems’, vaguely minimal with Foxx’s echoing breathy vocals dominating. Matthew Dear’s remix which comes as a bonus track, adds a more industrialised, extended treatment and a deeper, menacing drawl.
The lovely ‘September Town’, originally the B-side of the first JOHN FOXX & THE MATHS single ‘Destination’, sees the sequences and string machines making their mark despite the more stripped down feel. Benge’s intricate craft of working with the limitations of his vintage electronics shines through.
Photo by Ed Fielding
‘Falling Away’ is the big surprise featuring a distorted burst of guitar alongside the sparse rhythm machine accompaniment. ‘Unrecognised’ is perhaps one of the most immediate of the tracks with its pulsing hypnotics sweetened by some emotive synth and piano touches. With more abstract leanings, ‘Invisible Ray’ dovetails treated vocal washes and ambient sweeps while ‘Vapour Trails’ is lively, all subtle claptraps and Compurhythm building.
Fantastically motorik, ‘Tides’ is like an electronic NEU! while the main act closer ‘The Shadow Of His Former Self’ rolls with 6/8 rhythms punctuating the magical overtones of vibrato like a more dystopian take on DEPECHE MODE.
As a final treat, the final bonus track ‘Where You End & I Begin’ featuring kooky Moogstress TARA BUSCH captures the influence of GAZELLE TWIN’s ‘The Entire City’, Foxx’s own favourite album of 2011. Making her presence felt, Busch takes on more witchy tones rather than the Patti Page in space persona of her more recent ‘Rocket Wife’ as it leans to more sinister rumblings.
‘The Shape Of Things’ is very much a grower of an album; much more personal than any of JOHN FOXX’s previous work, it gets progressively satisfying with further, conscientious listens. For many of his followers, this could even turn out to become one of their favourite albums…
With thanks to Steve Malins at Random PR
JOHN FOXX & THE MATHS ‘The Shape Of Things’ is released as a single CD by Metamatic Records on 19th March 2012.
Those who arrived early for JOHN FOXX & THE MATHS’ shows last year will have noticed the kooky songstress with a laptop, flute and Moog Voyager as the opening act. That lady is TARA BUSCH, American musician, producer and score composer.
JOHN FOXX himself described his first encounter with her thus: “Karen Carpenter appeared, along with Nico and Doris Day. Then Bob Moog wandered in”. Since then TARA BUSCH has collaborated with JOHN FOXX & THE MATHS on the track ‘Where You End & I Begin’ from the new album ‘The Shape Of Things’, but she was already a seasoned hand before that as a member of DYNAMO DRESDEN who released the album Remember in 2004.
Going solo, she issued her debut album ‘Pilfershire Lane’ in 2009 while also undertaking remixes under her Analog Suicide brand for fellow enigmatic females such as ANNIE LENNOX, BAT FOR LASHES, POLLY SCATTERGOOD and the mysterious IAMAMIWHOAMI. She was then chosen by Michelle Moog to perform and participate in a workshop called ‘Modern Day Sound Sculpting’ at MoogFest 2010.
But it was her charity EP released in late summer of 2011 for The Bob Moog Foundation entitled ‘Rocket Wife’ that really put her on the map for synth enthusiasts. Ever wondered what happened to that other worldliness which was present on GOLDFRAPP’s monumental ‘Felt Mountain’ album? Well, it has now landed on Planet Busch.
With a combination of ‘Aqua Marina’ vocals and the Sci-Fi sounds of the BBC Radiophonic Workshop’s Delia Derbyshire, ‘Rocket Wife’ is simply breathtaking, sounding like Patti Page in outer space.
Meanwhile, additional EP track ‘Calendura’ is a beautiful Alpen waltz with a touch of ‘Oompah Radar’ about it while the very short ‘Motor Crash’ is gorgeously neo-acappella with a smattering of bubbling squelch games.
Busch said of her EP: “This is a homage not only to Bob Moog and his legacy, but to the effect the synthesizer had on my music, creativity, and life. What Bob did, most famously with the Minimoog, was to make the groundbreaking world of synthesis available to everybody, not just for the privileged few.”
TARA BUSCH is also known for her enjoyable off-the-wall interpretations of songs such as MADNESS’ ‘Our House’ and THE CURE’s ‘Let’s Go To Bed’ which appeared on the ‘Perfect As Cats’ tribute album.They’re cover versions Jim, but not as we know it! So Busch’s Five Year Mission? To synthly go where no woman has gone before…
So what did ELECTRICITYCLUB.CO.UK think was hot back in 2011?
It featured a day in March when THE HUMAN LEAGUE, DURAN DURAN and John Foxx all released new albums, while VILE ELECTRODES launched their debut EP. In a year when the synth pioneers were finally recognised for their valuable contribution to popular culture, here are our 30 favourite songs of 2011 presented in alphabetical order by artist…
AUSTRA Spellwork
Canadian trio AUSTRA deliver a stark, baroque form of electronica fuelled by sexual tension. Like a gothic opera which successfully blends light and darkness with fragility and power, Katie Stelmanis and friends borrow the tones of classic DEPECHE MODE and cross it with THE KNIFE for this, their most accessibly brilliant synthpop offering from their debut album. The B-side ‘Indentity’ is a worthy listen too.
Available on the CD ‘Feel It Break’ via Domino/Paper Bag Records
Fresh from opening for John Foxx, Tara Busch released a charity EP for The Bob Moog Foundation. If you’ve ever wanted to hear that bizarre sonic other worldiness of GOLDFRAPP’s first album ‘Felt Mountain’ again, it’s right here on ‘Rocket Wife’. With hints of the eerie classic Star Trek theme, this is really does sound like THE CARPENTERS in outer space! Calling occupants of interplanetary craft, across the universe…
Available on the download EP ‘Rocket Wife’ via The Bob Moog Foundation
With wonderful riffs and an uplifting chorus, this is delicious electronic pop from the cult Swedish trio of Paulinda Crescentini, Tommy Arell and Carl Hammar. Remixed by Athens synth maidens MARSHEAUX, this has the best of both worlds and could easily be mistaken for Sophie and Marianthi. However, PaulindaCrescentini’s Italo Nordic charm gives ‘It’s A Game’ a wonderfully distinct and alluring Mediterranean flavour.
Available on the download EP ‘It’s A Game’ via Graplur Records
BETH DITTO would probably be the Alison Moyet of modern electro if she didn’t prefer the funky punk of her band GOSSIP. ‘Do You Need Someone?’ sees Ms Ditto’s powerful and passionate yearning adding soul to the sparkling electronic dance groove. With production from SIMIAN MOBILE DISCO, KRAFTWERK’s ‘Computer World’ tones towards the song’s coda are a marvellous touch. A future career as an alternative disco diva beckons.
Available on the CD EP ‘Beth Ditto’ via Deconstruction Records/Sony Music
While Dolby’s album return was largely organic with hints of bluegrass and Americana, its token synthpop offering was the wonderful ‘Spice Train’. Over its hypnotic, squelchy sequence and mechanised dance beat, it gets strangely humanised by a Mariachi horn section. With the kitchen sink and a host of exotic influences thrown in via Bollywood and the Middle East, ‘Spice Train’ does exactly what it says on the tin.
Available on the CD ‘A Map Of The Floating City’ via Lost Toy People.
‘All You Need Is Now’ saw DURAN DURAN cyclically return to the funk-led syncopated pop of their first two albums. ‘Being Followed’ is a superb sequencer assisted disco number with a tingling metallic edge, touches of THE CURE’s ‘A Forest’ and Nick Rhodes’ vintage string machine capture the tension of post 9/11 paranoia. Simon Le Bon gives it his all and while he is technically one of the most chronic singers of his generation, he is unique AND untouchable…
Available on the CD ‘All You Need Is Now’ via Tape Modern
NIKONN’s brand new album ‘Instamatic’ is suitably Mediterranean so add that instrumentation to the voice of raspy New Yorker Lana Del Rey and the end result is a glorious sun-kissed dancefloor moment. Somehow, you end up feeling much happier after dancing to, what is essentially in its original form, a quite stark, heartfelt minor key ballad. Now officially sanctioned, the remix brought the former Lizzie Grant to an electronic pop audience.
Originally issued as a free download but currently unavailable.
From her under rated album ‘Make A Scene’ which includes contributions from Richard X and Armand Van Buuren, the appropriately titled Synchronised is a synthpop tune with a distinct YAZOO flavour to it. All highly appropriate as she supported ERASURE during their forests tour this year. This superbly cements her electro kinship which has been apparent since ‘China Heart’ from her ‘Tripping The Light Fantastic’ in 2007.
Available on the CD ‘Make A Scene’ via Douglas Valentine Limited
The best track on the ‘Interplay’ album is a co-written duet with Mira Aroyo of LADYTRON. ‘Watching A Building On Fire’, with its chattering drum machine and accessible Trans- European melodies, oozes a synthetic smokiness. Aroyo’s counterpoint is almost playfully feline although Foxx’s inherent dystopianism gives it his stamp, making this a second cousin of ‘Burning Car’. The Andy Gray remix is also a worthy acquisition.
Available on the CD ‘Interplay’ via Metamatic Records
JOY DIVISION’s original on ‘Closer’ was one of the most fragile, funereal collages of beauty ever committed to vinyl but Elizabeth Walling has covered this cult classic and made it even more haunting! Replacing the piano motif with eerily chilling synth and holding it together within an echoing sonic cathedral, she pays due respect while adding her own understated operatic stylings… you should hear her version of ‘Louie Louie’!
Available on the download EP ‘I Am Shell I Am Bone’ via Anti-Ghost Moon Ray Records
Susanne Sulley does her best LITTLE BOOTS impression with this opener to ‘Credo’, the long awaited comeback album from THE HUMAN LEAGUE. Sounding like ‘Crash’ gone right or CLIENT gone funky, it is also auto-tuned to the hilt as Da League go all contemporary with this marvellous slice of electronic pop. Let’s hope it’s not another ten years before there’s new material!
‘Clump’ could be the sound of the drums on OMD’s ‘History Of Modern Part 1’ but it’s actually this kooky little number by IAMAMIWHOAMI aka Jonna Lee. A synthetically charged amalgam with vintage sounds and even a toy piano thrown in, this is a bit brighter than some her contemporaries if still delightfully odd and mysterious. It’s musically more Bjork than FEVER RAY although she does share the same management with the latter.
Available on the download single ‘Clump’ via iTunes and Amazon
IAMX have captured an electro Gothic aesthetic that combines the theatrics of Weimar Cabaret with themes of sex, alienation and dependency. Despite the lyrical and aural fervor, Corner’s songs are strongly melodic with an accessible grandeur. The superb lead single ‘Ghosts Of Utopia’ from new album ‘Volatile Times’ has instant appeal with its exhilarating mechanical drive and electrickery. His scream of “this is psychosis” is wholly believable! Dance in the dark!
Available on the CD ‘Volatile Times’ via Republic of Music/BMG
Flautist textures dominate the more sedate pace of ‘Mirage’ almost as a reaction to the loudness war of previous album ‘Velocifero’. Helen Marnie’s voice beautifully suits the synthetic atmospherics while the widescreen, spacious mix compliments a catchy tune that has hints of SIOUXSIE & THE BANSHEES. Although confusing some of their fans, given room to explore, ‘Gravity The Seducer’ is that under rated album which will be hailed as a classic in years to come.
Available on the CD ‘Gravity The Seducer’ via Nettwerk Productions
Living in a dream since 1983 and as a homage to ‘The Pleasure Principle’, MAISON VAGUE mainman Clark Stiefel responded musically to a YouTube video entitled ‘Synthpop Is Dead’. The opening salvo is brilliant and the lyric of “Everyone’s entitled to opinion, you have yours and well I have mine” hits home. But it’s the retort of “And though it seems that our opinions differ, you’ll agree in time!” that says it all as the sound of PLACEBO gone electro. This battlecry has heart, soul and humour.
Available on the download album ‘Synthpop’s Alive’ via Amazon
Closing MIRRORS’ outstanding ‘Lights & Offerings’ long player, ‘Secrets’ shifting phat bass riff across two octaves is pure Kling Klang, driven by an intense percussive march. An epic at over ten minutes in length and split into three movements, the ambient interlude of the second section consists of an aural sculpture that plays with the mind. It then suddenly reprises with a piercing military tattoo for its finale with unsettling voices for some added claustrophobic edge.
Available on the CD ‘Lights & Offerings’ via Skint Entertainment
Yes, Moby has settled into a formula but he does it well. One of the more immediate tracks from the excellent independently released ‘Destroyed’ album, ‘Be The One’ is full of rich layered synth strings with moody chordial sweeps over a motorik beat and textured vocoder. Despite the simplistic robotic couplet “I was the hell that you needed – I was the one when you needed love”, it strangely exudes warmth and emotion.
Available on the CD ‘Destroyed’ via Little Idiot Records
From their second EP Radio, with Caroline Myrick’s soft vocals attached to Darin Rajabian’s classic electro disco inspired backing, ‘On The Run’ could be described as Ellie Goulding gone right and is free of folkisms. : “I want back the soft quiet days of ever, when there was lemonade and sand, and rainy screen doors and sad movies; when the minutes were no one else’s but ours”.
Available on the download EP ‘Radio’ via their website
Anthemic gothic rock is what the former Gary Webb deals in these days but ‘The Fall’ is a lot less heavier and one-dimensional than the offerings on previous album ‘Jagged’. Co-written and co-produced by Ade Fenton as an interim project when work on the ‘Splinter’ album was put on hold, with a fair smattering of gritty synths, this achieves a much better sonic balance and Gary Numan’s most accessible number in years.
Available on the CD ‘Dead Son Rising’ via Mortal Records
THE OPIATES are former ELECTRIBE 101 chanteuse Billie Ray Martin and Norwegian DJ and producer Robert Solheim. They have been dubbed as The Carpenters of Electro. Several years in the making, the debut album contained ‘Anatomy Of A Plastic Girl’, a fine avant pop structure that told the tale of a young wannabe actress in Los Angeles who reflects on the facial surgery that has left her scarred…
Available on the CD ‘Hollywood Under The Knife’ via Disco Activisto Records
QUEEN OF HEARTS is Liz Morphew, formally of RED BLOODED WOMEN; this mysterious young royal with her assorted headgear and couture is modern electropop’s own Queen Amidala. From a galaxy far, far away and light years ahead of the poptastic competition, this moody, pulsing cover of indie rockers THE FOALS is transformed by a hypnotism textured with spacious synths to give our Queenie room for some sexy breathiness.
Best known for ‘Looking From A Hilltop’ in 1984, the song’s husband and wife vocalists Larry Cassidy and Jenny Ross have sadly since passed away. So it was highly appropriate that for SECTION 25’s recorded return, fronting the former punks would be Larry and Jenny’s daughter Bethany. She does a fine job with this danceable synth led ditty which captures that classic hedonistic Manchester vibe that recalls THE OTHER TWO’s ‘Tasty Fish’.
Available on the download EP ‘Invicta’ via Fac 51 The Hacienda
SOFT METALS are a newish electro duo comprising Patricia Hall and Ian Hicks. Now resident in Los Angeles, they have an accessibly minimal sound with Hall’s pretty vocals being a particular delight and reminiscent of Dot Allison’s flirtatious aura. ‘Eyes Closed’ is probably the highlight from their very promising self-titled debut album, elements of ORBITAL creeping into the danceable bleep fest.
Available on the CD ‘Soft Metals’ via Captured Tracks
Stefan Storm and Oskar Gullstrand hail from Gavle in Sweden. Both filmic and musical elements are important factors in THE SOUND OF ARROWS. Produced by Richard X and featuring a sweet guest vocal from Sarah Nyberg Pergament aka action biker, the choral patches and the symphonic templates are just so reminiscent of OMD. Coupled to some fantastically optimistic ambition, ‘Longest Ever Dream’ is a panoramic joy!
Featuring mournful violin by Chris Payne from The Gary Numan Experience, ‘What Do You Want?’ is the first TENEK track that could be described as possessing a degree of beauty. The Brtish duo’s more rousing anthemic style takes a breather here and although this has more in common with their other ballad track ‘The Art Of Evasion’, the subtlety and strings add a new sonic dimension to the developing TENEK sound.
TIGER BABY are a Copehagen trio led by singer Pernille Pang with Benjamin Teglbjærg and Nikolaj Tarp Gregersen in synthetic support. They released their debut album ‘Noise Around Me’ in 2007. Stylistically, this has all the unmistakeable melodic sensibility that Scandinavian pop acts seem to naturally possess as pretty arpeggios and wispy vocals combine for some dream laden electro accompanied by a fabulous video.
Available on the CD ‘Open Windows Open Hills’ via Gunhero records
VILE ELECTRODES are a colourful beat combo who combine analogue synths with fetish fashion. Their sound could be described as THE SMITHS reincarnated as CLIENT but ‘My Sanctuary’, the closing track on their debut EP is a sweeping moody epic that recalls imperial phase OMD. Anais resigned melancholic vocal gives that ice maiden demeanour over glorious symphonic synth strings and deep sombre tones. It’s magnificence embroiled.
They’re the 21st Century equivalent of THE TEARDOP EXPLODES but with no brass. WHITE LIES however are much more bombastic with synths carrying melodies and assorted effects. Driven by a sweeping theme and deep bass thud before leading to a sense of urgency in the verse, a thoroughly anthemic chorus doesn’t appear until halfway to increase tension. This is possibly what TX could have sounded like if Julian Cope hadn’t gone to live under a tortoise shell!
Available on the CD ‘Ritual’ via Fiction/Polydor Records
Chugging arpeggios, clattering primitive drum machines and slightly unorthodox vocals, minimal duo XENO & OAKLANDER give a brilliantly vibrant offering of vintage futurism. ‘The Staircase’ is their most immediate offering yet. Based in Brooklyn, part of their authentic Europeanism comes from Liz Wendelbo’s wispy French / Norwegian charm. Writing with partner Sean McBride since 2004, they successfully supported JOHN FOXX & THE MATHS in 2011.
Available on the CD ‘Sets & Lights’ via Wierd Records
Those dark Nordic nights certainly have their effect as this cynical tune from this Finnish duo indicates. Comprising helpfully of two friends Tapio and Matti, ZEBRA & SNAKE fuse vintage electronics with a touch of ambient dexterity as an “artistic form of therapy”. ‘Empty Love Song’ is suitably bittersweet and sounds a bit like MGMT’s ‘Time To Pretend’ after six months in deep freeze! However, despite its lyrical stance, it possesses a grand anthemic quality.
Hannah Peel will be known to synthpop fans as one of the musicians with JOHN FOXX & THE MATHS.
However, she first became known to the synth world via her debut EP ‘Re-Box’ released on Static Caravan in 2010. It featured musicbox covers of ‘Tainted Love’ which was made famous by SOFT CELL, NEW ORDER’s ‘Blue Monday’, OMD’s ‘Electricity’ and COCTEAU TWINS’ ‘Sugar Hiccup’. An edition of 300 were pressed onto 7 inch vinyl and promptly sold out.
A first class honours graduate from the Liverpool Institute of Performing Arts, Hannah Peel curated The Audio Vision Festival at the 3LD Art and Technology Centre as part of Liverpool’s celebrations as European Capital of Culture in 2008.
Later, she worked as a session musician for Nitin Sawhney as well as writing songs for her debut album ‘The Broken Wave’. As was usual with the MySpace generation of artists, Hannah streamed her material online. Having been brought to his attention by her cover of ‘Electricity’, OMD’s Andy McCluskey asked to sample her composition ‘Organ Song’ for a possible album track. The end result was ‘Bondage Of Fate’, a haunting waltz ballad which featured her vocals and keyboards prominently on the finished recording. It was included on OMD’s comeback album ‘History Of Modern’ in 2010.
Although her own 2011 debut album ‘The Broken Wave’ was more traditional and influenced by her Irish and Yorkshire roots, it was while she was recording with producer Mike Lindsay at his Play Studios that she met co-owner Ben Edwards aka Benge, synth collector extraordinaire and collaborative partner in the JOHN FOXX & THE MATHS project. As a result, she was invited to become part of the live set-up for the Interplay tour in Benge’s artistic vision of a Shoreditch Exploding Plastic Inevitable.
Proficient on both piano and violin, she did her Maths homework and adapted extremely well to the electronic sound of the former ULTRAVOX front man. Handling a Micro-Korg and Roland JX3P while twiddling a pink Ibanez AD80 delay, she authentically recreated a plethora of futuristic sounds that warbled off and on. But it was her eerie bowed embellishments to the ‘Metamatic’ material that drew her most praise, drawing comparisons with ULTRAVOX’s Billy Currie, the godfather of synth playing electric violinists!
ELECTRICITYCLUB.CO.UK met Hannah Peel after the final XOYO show in London and later chatted to her about her burgeoning career and electro-friendly development.
How did the idea for your ‘Re-Box’ EP come about?
I discovered the programmable music box when scoring some music for a theatre show in Liverpool. It wasn’t until afterwards when I thought; this box could work really well with singing. As a bit of a joke, I made the remix of ‘Tainted Love’ instantly recognisable and the riff works really well on the box. I played it live at gig one night for a friend and the reaction was pretty incredible! So I decided to create a few more remixes, put them on a CD and give out to a few people who I knew would like it, calling it ‘Re-Box’.
The CD made its way into the hands of Geoff Dolman at Static Caravan who then released it as a limited 7 inch vinyl. What makes the covers attractive, even though they are programmed, is the contrast to the rigid tempos of the original tracks programming. The music box strips away all that as it is hand wound and leaves you with the bare minimal melodies and structures of the songs, which are quite beautiful and classic.
Where did you first hear these synth classics?
I think as an 80s child, ‘Blue Monday’, ‘Tainted Love’ and ‘Electricity’ are without a doubt, ingrained into my brain somewhere. However, it wasn’t until I had played with Laura Groves from BLUE ROSES, who noted that I have hiccups everyday, that ‘Sugar Hiccup’ by COCTEAU TWINS would be a perfect remix.
Is using the musicbox a bit like programming an antique sequencer in a way then?
Yes, in that you are using a punch card type of system, resembling early computer techniques when having to give digital instructions. Much like MIDI really. I’m not sure how they made the card, but for me all the notes on the music box are made using a hole puncher and can take me sometimes a solid 12-18 hours to complete.
I remember OMD’s Paul Humphreys enthusing to me about your work. Was your cover of ‘Electricity’ how they first got to hear about you?
Yes, I sent Andy McCluskey a copy of the CD when I had finished, I lived in Liverpool at the time so knew of his studio there.
How did you feel when they wanted to sample ‘Organ Song’ for their track ‘Bondage Of Fate’ on ‘History Of Modern’?
Really flattered. I had written a lot of music previously for theatre and short films, but ‘Organ Song’ at the time was one of the first songs I had embarked on and recorded myself.
What did you think of the end result?
I think it works really well. Mainly because, it works really well in contrast to the others. It has a more organic, emotional atmosphere around it. But I would say that though wouldn’t I!?
So what’s actually happened to ‘Organ Song’ itself? Will it turn up on your next album?
Well, actually it has been released on my first album ‘The Broken Wave’ as ‘Today Is Not So Far Away’. I took the original to Mike Lindsay the producer, and we re-worked it – so much so, there is now no resemblance to the original!
Your own music and debut long player ‘The Broken Wave’ appear to be perhaps more from a folk tradition? What is your own musical background and influences?
Although I was born in Ireland, we moved to Yorkshire at an early age… my family are very much into singing, playing and dancing – I was constantly being made to go to folk sessions that I am now glad they did! However, I was also in a competition brass band on the trombone right up until I left for university, so traditional elements have always played a part rather than just folk music.
I listen a lot to film, classical music and a lot of 60s / 70s music, mainly because I love the melodies, arrangements and emotional connections. These are very important for me and I suppose I’ve been labelled with folk because of this connection to rawness. I feel like a lot of modern music lacks these elements and is just noise to fill the ever increasing void in modern life, rather than being there for a reason and to say something important. I won’t ever put something in my music, whether it is lyrics, sounds or instruments unless they have a reason to be there.
What got you more involved with synthesizers?
I get a lot of satisfaction from playing analogue synths. They feel real and tangible and enable a sense of control but also experimentation and fun in exploring what you can create but I honestly did not know much about them until I came to London to make my record with Mike Lindsay. His studio was run by Benge, so you can probably guess how much my eyes exploded from finding this completely new world.
So how did you end up being part of JOHN FOXX & THE MATHS?
John and Benge were making Interplay next door as I was making ‘The Broken Wave’. I’d spoken to John a few times, mainly when our paths crossed but Benge had seen me play and knew what I was like musically. So I suppose when they were looking at putting a band together and needed a singer/keys player and violinist – I fitted the bill.
Benge has got quite synth collection hasn’t he? What would be your favourite synths, past and present?
I am in no way an expert on these things! However, yes Benge has got a unique and brilliant collection. I have been in the studio a lot working over the last year and I still don’t know half of what is in there, but so far my favourite vintage ones are the ARP synths. The ARP Omni, which we used on tour (played by Serafina Steer) and the Odyssey, which we couldn’t take unfortunately as it is just too valuable. I just bought the new Korg MicroTribe which we used on tour for the track ‘Interplay’, that’s very good and analogue too.
What did you think of John Foxx’s work when you were first introduced to it because you weren’t born when ‘Metamatic’ or ‘The Garden’ were released?
It has a clear distinctive sound. One that sets him apart from other acts of his earlier career, and I still feel he maintains and pushes his sound and boundaries even further now. I started playing with him with no preconceptions and fresh ears for the new record, and hopefully that came across in the live performances.
As a trained musician, what things have you observed about John Foxx’s compositional and arrangement style?
He approaches his music like a true artist. Parts and sounds seem to be created as if they were from a visual image, placed with a delicate awareness and added to make a picture whole. It’s not just about a huge vocal part or a massive synth riff, each instrument and part is there to create the bigger picture. For me, this makes the tracks more interesting and certainly when playing on tour, you never become tired of your part.
His fans have been particularly positive about your contribution to the live sound, especially with the violin. How did you find adapting to a quite different style of music to your own?
That’s very nice indeed! We actually had a very intense rehearsal period. There was a lot to learn and all the tracks had to be adapted with the right synth programming for us three to play behind John’s vocals. You will have noticed Sefa and me playing two completely different parts at once and singing on top. It took a lot of co-ordination and concentration for all 18 songs and so I never had the time to consider the different style of music until we were on stage!
Which of his songs did you particularly enjoy playing live?
Ah there are so many, but the ones featuring the violin felt the most satisfying to play live, mainly because of the effects on the violin pedal board, lots of distortion, delay and extra octaves. To quote Benge, “Like an animal being murdered”! ‘Burning Car’, ‘He’s A Liquid’ and ‘The Shadow Of His Former Self’ are all amazing songs and great fun live.
Are there any other Synth Britannia or contemporary electronic acts you would like to work with?
Yes certainly, at the height of the time, I wish I’d been there! So much incredible sounds and acts were allowed to come through into the music industry. But to work alongside someone now, who has retained their open-minded enthusiasm and perspectives and credibility as an artist, I am very happy to be working alongside John. Current acts, THE KNIFE. I love their live shows and sound, and also Karin Dreijer Andersson’s solo project FEVER RAY. I met them once with Benge in Shoreditch for a drink just after I moved from Liverpool to London last year.
Is further electronic experimentation likely in your future work? Perhaps in a wonky pop folktronica hybrid?
Yes, I’ve already started work creating new tracks with Benge and John for a different album. I’m very much hooked. Although, for my own songs, I won’t intend for them to be pinned as folktronica, that term makes me feel funny somehow. Working with synths certainly brings out the more cinematic side of my writing.
So what’s next few you?
THE MAGNETIC NORTH – I’ve made a record with the singer Erland Cooper (from the psych / folk band ERLAND & THE CARNIVAL) and VERVE / BLUR / GORILLAZ guitarist Simon Tong. Called ‘Symphony of The Magnetic North’, the album is based on the Orkney Islands and is inspired by a 1930s travelogue journal. It will be out next year and is quite a mix of darkened stories from the Islands with strings / brass / guitars / a local Island choir / port and ship samples and our vocals. Benge has just finished mixing it too!
I’m also working on my next album too, based on the book ‘Invisible Cities’ by Italo Calvino.
ELECTRICTYCLUB.CO.UK gives its warmest thanks to Hannah Peel
Special thanks to Colin Wallace
‘Re-Box’ and ‘The Broken Wave’ are available now on Static Caravan
Renowned remixer Mark Reeder’s first flirtation with near fame was when he was in punk band THE FRANTIC ELEVATORS with SIMPLY RED’s Mick Hucknall.
In 1978, he moved to Berlin and became Factory Records German representative in Germany while also working in the studio with bands such as all-girl avant noise terrorists MALARIA! who he co-managed and DIE TOTEN HOSEN.
In 1981, Reeder formed post-punk duo DIE UNBEKANNTEN while in 1983, he helped put together the Berlin Special of ‘The Tube’ TV music show which featured acts such as DIE ÄRTZE. Later on, DIE UNBEKANNTEN changed their name to SHARK VEGAS and toured Europe with NEW ORDER.
In 1990, Reeder established his own electronic dance music record label Masterminded For Success (MFS) and discovered Paul Van Dyk who he guided into becoming an internationally famed DJ and recording artist. His passionate approach and highly respected reputation for care and attention in all areas including concept, artwork, PR and sound gained many notable admirers within the music industry. So when Reeder focused on remixing in the late noughties, he was given the opportunity to work for a number of major artists including John Foxx and PET SHOP BOYS.
He also collaborated with popular German dance duo BLANK & JONES on a musical restyling project entitled ‘Reordered’ which featured among its vocalists NEW ORDER’s Bernard Sumner, Robert Smith from THE CURE, Steve Kilbey of THE CHURCH and Claudia Brücken. Its highlights however were probably the ‘This Time Of Night’ aping Alone In The Dark Mix of ‘Loneliness’ sung by Bobo and the Save Yourself Mix of ‘Manifesto’ featuring Vanessa Daou.
Reeder is about to release his brand new labour of love entitled ‘Five Point One’. It is a dream compilation album of new, rare and unreleased remixes by his own hand of established heavyweights such as DEPECHE MODE, PET SHOP BOYS, BLANK & JONES and BAD LIEUTENANT alongside cult favourites DIE TOTEN HOSEN and Anne Clark plus comparative newbies like MARSHEAUX, MAY 68, NOBLESSE OBLIGE and ELECTROBELLE.
Comprising of a deluxe DVD and 2CD package, the DVD is remastered in Dolby 5.1 surround sound to create a listening experience to enhance the depth and radiance of the original stereo mixes. What shines through particularly is Reeder’s intuitive approach which adds a developmental enhancement to proceedings while retaining the all important compositional essence of the originals.
Mark Reeder kindly spoke about ‘Five Point One’ and added a few thoughts about the welcome return of the song in modern electronic pop plus some stories about his days with Factory Records… “anything can happen in the next half hour…”
Photo by Katja Ruge
What was your inspiration particularly for this compilation?
I’ve always been a fan of surround technology and love the idea of multi-dimensional cinematic wrap-around sound. Although I’ve never owned a Quad system I have Quad versions from the 60s and 70s of ‘Switched-On Bach’ by Wendy Carlos (she was called Walter back then) and ‘Quadrophenia’ by THE WHO and I released a couple of B.A.S.E super spacial stereo and surround albums on my MFS label too.
So making my own 5.1 album was, I suppose, a natural process. I confess, I was definitely inspired by the 5.1 releases of PINK FLOYD, DAVID BOWIE and DEPECHE MODE, which I immediately snapped up.
However, making a 5.1 mix is a complex and expensive undertaking. I first made a 5.1 mix for my remix of ‘German Film Star’ for The PET SHOP BOYS and Sam Taylor-Wood and one for ‘Sink or Swim’ for BAD LIEUTENANT and then ‘Underpass’ for John FOxx, then followed MARSHEAUX and we just went from there. The idea that the album was to have some of my all-time fave bands and all my remixes for them together on one 5.1 surround album just started to happen. It was initially intended to be an audio only album, but when John Foxx said I could use his original 80s video, then we also had a visual element to the album too.
You’ve remixed the songs in DVD 5.1 Surround sound for one disc, how did you the motivate yourself for this endeavour?
The motivation was the challenge. Micha Adam, my studio partner and I wanted to see if we could do it. We wanted to push our own boundaries and test our abilities. Our aim was to re-remix our remixes in 5.1 surround and hopefully release them on one album. Most people, especially in the music industry, currently can’t see the reason behind making a 5.1 album, but that is because there is not that much 5.1 music about and nothing to really compare it with and therefore no visible market for it. That’s most probably because of the cost involved, not only in making a 5.1 mix, but for the consumer too.
It is early days still and just a matter of time. Once the technology gets cheaper and 5.1 becomes easier to make then more music will emerge. It took stereo over 30 years to reach the household in the late 60s and when 5.1 systems eventually become cheap and affordable, then people will also want something to play on them.
Also new and futuristic technological developments aim to make 5.1 available on every mobile phone too. That was another inspiration. Once we all have the 5.1 DolbyMobile chip in our smartphones then we will want to hear music in 5.1 too, which was a further driving force for us. This special chip means that you can listen to music in 5.1 on your phone, on normal stereo headphones, albeit in simulated 5.1, but if you connect your phone to a real 5.1 sound system, it will play back in true 5.1 surround. Fascinating!
Making the actual 5.1 remixes was the real challenge though, as it is all about getting the balance right so that the mix sounds like the original remix, but the music comes from all around you, just like in the cinema. That was the thrill. Yet, mixing an album in surround is not as easy as you might think and the end result will probably sound a bit different to everyone, especially considering that each home system is set up individually to taste. By the way, mixing a track in stereo is much easier too, as you can layer and hide things within the mix, whereas surround is much more revealing.
You are featuring several new acts on ‘Five Point One’ such as MARSHEAUX and NOBLESSE OBLIGE alongside established luminaries such as PET SHOP BOYS, DEPECHE MODE and John Foxx. I can see the newer artists being very co-operative but how straightforward was it to persuade the established acts to allow you to rework their material with your instrumentation and methods?
Yes, I’ve tried to create a balance between the more established acts and a crop of newer artists. Some of which have their debut on ‘Five Point One’. I thought this way I could bring them to a wider audience.
Generally, I think I’ve been very very lucky, as it wasn’t really all that difficult for me to obtain the clearances, as it might have been for other people. The artists that I have initially done the remixes for know who I am and obviously respect me and my work and my idea. They appreciate the amount of time, dedication and creativity that has gone into preparing this project. I guess they know I would also try and do my best and that I would take great care remixing their song. They also know the kind of music that I make.
Mind you, remixing a well-known and legendary song like ‘Underpass’ was still very nerve wracking. I’ve always loved this song and getting the chance to remix it for the first time after 30 years was such an honour. At first I was elated, then came the feeling of fear! Naturally, I wanted to do it justice without destroying it too much, as these days it seems so simple to take a great track, whack it into Ableton and strip it of all its atmosphere and identity, then add a techno beat and scatter a sprinkling of the original vocal over it, so it becomes totally unrecognisable and in most cases, disappointing.
I really don’t make my remixes like that. 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.
Luckily, John really liked my ‘Underpass’ remixes and he was very cooperative. In fact all the artists and labels were. Making a remix for a well-known song though is definitely much more daunting than making a remix for a new song. The obvious comparison aspect is overwhelming and the expectation is so great.
Obviously, I know I could never ever better the original and I don’t try to, I just make my interpretation. I also understand that my remixes won’t appeal to everyone, but I really only make a remix in the hope the artist themselves will like it and I suppose in the end, it’s for all those people who do actually like it. If you don’t like it then that’s fine too, just don’t listen to it. I always strive as much as I can to at least give the song I’m going to remix, the respect it deserves, regardless of its status.
Remixing ‘Sweetest Perfection’ was also very precarious. Daniel Miller gave me the chance to remix ‘Sweetest Perfection’ for the last DEPECHE MODE remixes album, but due to family problems I was unable to complete it on time. So I asked if I could use it on my own remixes album. My DEPECHE MODE remix actually took the longest to clear, simply because EMI / Mute were in the process of releasing their own DEPECHE MODE remixes album.
You also feature cult singer/songwriter Anne Clark who worked with John Foxx in 1985. For those who have not heard of her, how would describe her music and why do you like it?
It is quite interesting the threads between the artists on the album, in some obscure way they are all connected. I think Anne is very unique. She is a poet, who sets her poems to music. Although she is from England, she is probably more well-known outside of the UK. Her legendary status was formed in the early 80s and her brilliant song ‘Sleeper in Metropolis’ was huge in the new wave clubs across Europe at that time. It eventually became a Goth anthem and inspiration for many to follow. Its analogue synth sequencer sounds have never been bettered. Of course, her music today is very delicate but still powerful and anyone who has seen her perform live, knows exactly how beautiful her music is. I remixed two of her songs off ‘The Smallest Acts of Kindness’album which I really liked. I was inspired. They were intended for a remixes album, but that album hasnt yet materialised and so they are now on mine. I really like this spoken word matched with music idea.
You’re credited with introducing Bernard Sumner to Giorgio Moroder and Italo disco through the cassettes you used to send him from Berlin. How do you feel about his more rocky material with BAD LIEUTENANT? And is featuring remixes of them a way of you putting Bernard back into that electronic dance thing that he does so well but rarely touches now?
Well, I know Bernard is still very much into electronics and club music and he promised there will be more to be heard on the next BL album, but he wanted to show a different side with BAD LIEUTENANT and distance his band from NEW ORDER, which is understandable. I thought their album was really excellent. I’m not just saying that because Bernard is a friend, but because I really think it is. It is a bit of an unpolished jewel. Anyway, I played it to death. I think it was a very optimistic album and if you give it the chance, it gets better every time you play it.
Anyway, Bernard asked me to film some sequences for their ‘Sink Or Swim’ video and then I was asked if I wanted to do a remix for it too. I thought there are probably a few fans out there, like myself and Micha, who would also like to hear a more electronic, dancier type version of the song. So I made one. The same goes for my remix for the PET SHOP BOYS. They also wanted a more traditional PSB sounding remix without having to return to that style themselves.
Then Bernard asked me if I could do a quick remix for ‘Twist of Fate’, which was a track I also really liked and wanted to remix. I made two variations, one is a heavy-ish sounding half tempo mix with a pulsating bass and the other is a more uptempo dance mix variation. Both mixes are featured on ‘Five Point One’. I thought Steve Young made a truly brilliant sci-fi puppet video for that track too, with very scary looking puppets. You can see the love, care and dedication he has put into making this Gerry Anderson inspired video and I wanted to applaud his work and so we feature the video on the DVD too. He was kind enough to recut his video and add newly created footage just so that it would fit to my 5.1 remix.
Making these BAD LIEUTENANT remixes was much more difficult than we had imagined, as all the songs were played-in live by the band and there was lots of natural speeding up and slowing down within the track, which you don’t usually get with a precise timed 4/4 techno record. I had a great time with Micha making these two remixes, as we had to slice every single word and every note of every instrument and move them into position by hand to make them still sound organic, which took forever. It was good practise, as it turned out, because the BAD LIEUTENANT remixes were still easier than making the DEPECHE MODE or TOTEN HOSEN remixes.
Your Lange Hosen remix of DIE TOTEN HOSEN’s ‘Disco’ was very interesting. You go back a long way with them. They are known as being a punk band, but when did it occur to you that their material could be tailored for the dancefloor?
Actually, I realised that their music could be tailored for the dancefloor back in the 80s with ‘Hip Hop Bommi Bop’, which they made with legendary New York rapper Fab Five Freddy.
We used to listen to a lot of disco music on tour mixed in with AC/DC and plenty of punk classics. It just seemed natural to me that their track ‘Disco’ should have a real Italo-rock-disco-esque sounding remix.
As usual, I wanted to retain as much of their original song as possible though, so that it is still recognisable as a TOTEN HOSEN song. So the guitars and vocals are all in there. I’ve just changed the tempo and groove and added a straight driving bass guitar and pulsating synth so it can be played in a proper disco type of disco.
You’ve worked with MALARIA! in the past and there was a collaboration with CHICKS ON SPEED a few years back of 1981’s ‘Kaltes Klares Wasser’. Could their material work on the contemporary dancefloor and have you ever considered remixing them?
Yes, I did briefly consider it, but then again I didn’t just want to have a kind of oldies only album. I wanted a mixture of established artists and new ones. I wanted to give the unknown artists the opportunity to be on an album with some very well-known ones.
Was there any track that you really wanted on ‘Five Point One’ but were unable to use due to the usual contractual stuff?
Yes, there was. I really wanted to include my remix of ‘A Forest’ on ‘Five Point One’ that I made for the ‘Reordered’ album. In fact, I already made a 5.1 mix of it in the hope that I could use it, but unfortunately, BLANK & JONES said they couldn’t license it to me due to their strict contractual obligations with Robert Smith. So that particular remix remains exclusively available on ‘Reordered’ in normal stereo.
Are there any particular favourites for you on this compilation?
Yes, tracks 1-25.
Who do you hope ‘Five Point One’ will appeal to?
I guess it’s for all those people who like the artists featured on the album and wish they were all on one album. Now they are. Then it is also for those who enjoy this kind of retro sounding synthpop style of music and its especially for all those with a thirst for 5.1 Dolby digital surround sound. For the moment, it seems only major label artists like DEPECHE MODE, KING CRIMSON, DAVID BOWIE, PINK FLOYD or THE MOODY BLUES have been able to release surround albums.
I thought why can’t my favourite artists also have a 5.1 release too? I wanted to put all my own remixes for some of my favourite bands together on one 5.1 album. After all, who wouldn’t like an album that featured new mixes for legends like DEPECHE MODE and PET SHOP BOYS as well as John Foxx and Anne Clark all together on one album and all in 5.1? I certainly would.
How do you think electronic pop music has been developing over the years and where do you see it heading in the future?
After 20 years of electronically driven techno, trance and the many derivatives spawned from it, I feel that the current style of electronic pop music is quite refreshing. Of course, club music will always be there in one form or another and DJs and dancing will never go out of fashion. But for myself, I’m really enjoying hearing artists making songs again. Maybe in the future the synthpop sound will finally have its renaissance, one that it so rightly deserves. It seems more and more people are yearning for it. After all, the 80s appear to represent a time not only of political balance and security but of experimentation in fashion and music.
Back in the 80s, synth music was mainly European and futuristic sounding, but the overwhelming influence of major label funded American rock music was able to stamp synthpop into the ground. Also the synth technology sadly had its limitations too, I remember back then our Moog and Korg synths were terribly temperamental when it came to temperature or humidity change.
Today synth music is much easier to produce. We are living in that future, now. So why not make 80s sounding futuristic music? What I find interesting today is the current mixture of retro sounds of old synths being played in a contemporary way. I suppose the availability of new software for long forgotten analogue synths and the amazing technical plug-ins which have been getting better and better, all help to form the current sound of the music. All I know and care about really, is that there have been some great songs and cool new artists emerging recently and that is very inspiring.
Is there a favourite story you can tell from your days as Factory’s German representative?
Many. I remember Rob Gretton sent me a huge roll of posters to promote the first NEW ORDER album in Germany. To save on postage because the roll was so bloody big and heavy, he sent them by land and not airmail… well, they eventually arrived, three months later!
There are many funny stories and this interview would be longer than my Myspace page if I told them all. What many people don’t realise is that it was very difficult trying to promote Factory’s records in Germany back in the late 70s and early 80s. No one really wanted to know. This was due to the fact that Germany was rediscovering its own musical ability and creating its own new wave scene.
Early German punkbands like TEMPO, PVC or DAF had been fuelled by the UK punk movement, they in turn paved the way for the alternative avant-garde like MANIA-D, P1/E, DER PLAN or EINSTÜRZENDE NEUBAUTEN and later, the more commercial new wave pap like NINA HAGEN, SPLIFF or IDEAL. No one was particularly interested in a small indie label from Manchester and certainly not in a miserable sounding band called JOY DIVISION.
Sure, there was some interest from the dedicated anglophiles but it was very small and it appealed to a few. Of course, this attitude changed somewhat when Ian died.
Have you heard SECTION 25’s new single ‘Colour, Movement, Sex And Violence’ which is released on Peter Hook’s Fac51 The Haçienda label? What do you think of the spirit of Factory Records being kept alive and kicking?
Yes, I have heard it and I think it’s a great tune. Love it. Very Manchester. I’ve always enjoyed SECTION 25 and this song is one of their best in ages. The spirit of Factory will be kept alive by the numerous fans of the sound the label had and by the new fans who are discovering it for the first time. Without Factory, the Manchester music scene wouldn’t be what it became and is today and most boys would probably still not know how to dance. In Germany, Strut have just released a new ‘Factory Dance’ 12″ double CD compilation, which introduces some of the lesser known Factory dance artists together with a few better known ones. It has very striking looking artwork and is a must-have for any Factory fan.
What are your own upcoming plans after Five Point One?
I plan to release a remastered version of DIE UNBEKANNTEN’s ‘Don’t Tell Me Stories’ album finally on CD, this might include some SHARK VEGAS tracks too and also in 2012, I hope to release a deluxe version of DIE VISION’s ‘Torture’, the last album to be recorded in communist East Berlin that I produced there in 1989. As for my own projects, now that would be telling wouldn’t it?
ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Mark Reeder
‘Five Point One’ is released on 25th November 2011 by Kennan Limited and distributed in Germany by Rough Trade Deutschland.
For more information on Five Point One including the full tracklisting and how to order this deluxe 2CD/DVD set, please visit http://www.five-point-one.co.uk/
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