Athens-based synth maidens MARSHEAUX returned to the UK by gracing the beautiful Norfolk city of Norwich at Epic Studios.
The day was kicked off by a marvellous memorabilia exhibition of items from the Synth Britannia era. Deb Danahay’s collection mainly depicted the early years of DEPECHE MODE circa 1981. Deb shared her very first DM fan club information sheets, photos, backstage passes and newspaper cuttings.
As well as that, there were YAZOO fan club photos, backstage passes and personal notes too while one of the UK’s most devoted fans of DEPECHE MODE, Michael Rose treated eager observers to some excellent pieces of rare memorabilia.
These included tour programmes from the ‘Some Great Reward’, ‘Music For The Masses’ and ‘Violator’ eras. There were the Bong fan club publications as well, plus letters and assorted promo photographs. And there was the famous jacket Dave Gahan wore on the iconic ‘The World We Live In and Live In Hamburg’ video of nearly from the 1984 ‘Some Great Reward’ Tour, and also the first ever live concert release by the Basildon band.
Stephen Roper provided his keepsakes relating to Gary Numan. He collated a book about the Numan’s imperial era entitled ‘Back Stage-A Book Of Reflections’, which featured contributions from the man himself. More recently, Roper has ventured into gig promotion, hosting a successful live appearance by former KRAFTWERK member Wolfgang Flur.
The happy crowd milling around the venue consisted of diehard fans of electronica, studded with the likes of Sarah Blackwood ex-CLIENT and DUBSTAR, Anais Neon and Martin Swan from VILE ELECTRODES and George Geranios of Undo Records. Also along for the fun were Keith Trigwell of SPEAK & SPELL and Simon Helm of Nordic friendly music blog Cold War Night Life.
The compère for the evening was the lovely Caroline Rose, who was probably the only person in the venue who could pronounce “Les Disques du Crépuscule” and managed to get the audience properly geared up for the evening’s festivities as well as provided interesting info on the night’s acts.
Guest DJ James Nice graced the gathering with a variety of new and vintage tunes. He recently resurrected the prestigious Belgian label Les Disques du Crépuscule and its sister Factory Benelux offshoot, as platforms to issue a plethora of archive and experimental material, as well as releasing new music by MARNIE, MARSHEAUX, DEUX FILLES and LES PANTIES.
Nice, who is a music publisher and writer, with an accomplished 2010 book ‘Shadowplayers: The Rise And Fall Of Factory Records’, now looks after both labels, curating its heritage as well as taking care of new acts. The sleeve notes for these releases are written by the man himself, but as he told ELECTRICITYCLUB.CO.UK in his recent interview: “My notes tend to be honest rather than gushing or pseudo-academic, and that’s probably why I rarely get commissioned to write liner notes for other releases!”
In front of an audience that had gathered from as far as Switzerland, Holland, Ireland, Liverpool and London, RODNEY CROMWELL took to the stage first. Led by Adam Cresswell, his short but sweet set of tunes including ‘Baby Robot’ and ‘Black Dog’ from debut long player ‘Age Of Anxiety’, chronicled his own personal problems with depression. There was also the terrific bonus of his older ARTHUR & MARTHA track ‘Autovia’ featuring bandmate Alice Hubley on lead vocals.
He was pleased with the early crowd turnout as he had told ELECTRICITYCLUB.CO.UK earlier this year: “I think it’s harder to get gigs now… maybe that’s because electronic music’s not as fashionable, because back in the mid-noughties, it was on the back of Electroclash and that hipster thing!”. Well, it was a very successful set too and he managed it without blowing up one of his Korgs, like he had done at the warm-up gig in London the day before!
The golden boy of 2016, Nathan Cooper aka KID KASIO showcased his talents next during a lively 40 minute set. Cooper has had a successful couple of years, releasing his stunning retro-inspired album ‘Sit and Wait’ with such gems as ‘Full Moon Blue’ and ‘The Kodo Song’, which were both performed to a rather appreciative audience.
Previously of THE MODERN and MATINEE CLUB, Cooper has been involved in electronic music for years and worked with all the big names like Stephen Hague. Most recently, he opened a fabulous recording studio Fiction Studios in London, together with his oh-so-famous actor brother Dominic. Cooper managed to pick up a parking fine during rehearsals, so he amusingly pleaded to the audience to buy at least six CDs to cover his losses! His set went down tremendously well; with massively upbeat and entertaining tracks like ‘The Story Of Kid Charlemagne’ and the über fast ‘The End’, the crowd did not want to let KID KASIO off stage.
KID KASIO certainly prepared the audience for Greek Goddesses MARSHEAUX, whose hour-long set was simply stunning. The duo are soon to play at the first African electronic music festival in Senegal and kicked off with tunes from their latest acclaimed album ‘Ath.Lon’, accompanied by arty background projections. But the big hits like ‘Breakthrough’ from ‘Lumineux Noir’ were also included and inevitably got the audience pumping.
Apart from being pleasing to the eye, Marianthi Melitsi and Sophie Sarigiannidou also know how to get the crowd going and a few certainly got involved in a very articulated manner. The audience were dancing and singing to the brilliant ‘Inhale’ and the mood continued with DEPECHE MODE’s ‘The Sun & The Rainfall’. With exquisite harmonies brought by the girls, a few people in the audience actually said they preferred MARSHEAUX’s cover album of ‘A Broken Frame’ to the original.
After the show, many rushed to purchase ‘Ath.Lon’ with its stunning sleeve, dutifully signed by the duo. The demand was such that certain items on the merchandise stand flew out so fast, that a few missed out on goodies such as the lush luminous sleeved ‘Ghost’ 7 inch vinyl.
The happy crowd was entertained and everybody was having a great time. Now, this is what happens when electronic music events are curated by electronic music enthusiasts.
The organisers give their warmest thanks to all the bands, DJs, venue crew, team, helpers and attendees who made the evening such a great success
While Paul Haig has a cult following within the post-punk cognoscenti, he has often been overlooked in wider music circles.
But between 1982 to 1985, he produced some of the best electronic pop singles of the period. Haig had been the lead singer of JOSEF K, a guitar band with a frenetic pace who were to influence acts such as THE WEDDING PRESENT and FRANZ FERDINAND.
PROPAGANDA covered JOSEF K’s best known song ‘Sorry For Laughing’ for their acclaimed album ‘A Secret Wish’. Inspired by acts such as NEW ORDER and HEAVEN 17, he headed towards a danceable electronic template and worked with a variety of key figures such as Bernard Sumner, Alan Rankine, Billy MacKenzie, Alex Sadkin and Bernie Worrell.
But in the interim period, free from the shackles of a conventional band format, Haig produced material that ranged from jazz to indie pop to experimental electronica. These early tracks have been gathered on ‘Metamorphosis’, an archive 2CD collection released by Les Disques du Crépuscule.
‘Metamorphosis’ bridges the gap from when Haig left JOSEF K to signing to Island Records as a solo artist and releasing his debut album ‘Rhythm Of Life’. Paul Haig chatted about his varied career.
‘Metamorphosis’ documents an interesting period in your early solo career covering a range of styles, how do you look back on it?
It’s a very long time ago! I’ve always had eclectic tastes in music so I think it was a time when I could experiment freely without the constraints of being in a band for the first time. It was exciting to try out new ideas.
How were the tracks selected for this release, or was it quite obvious which ones were going to be included?
It was James Nice at Crepuscule who selected most of the tracks, then sent me a list. We more or less agreed on most of the tracks he chose.
You made a statement of intent after JOSEF K by using a drum machine on your first solo recordings ’Chance’, ‘Running Away’ and ‘Time’?
I had been interested in beats and drum machines for a while and even used to record simple rhythms of the keyboards in the music shop where I worked for a year. I’d take the cassette tape home and play stuff along with the rhythms onto another cassette recorder. I progressed onto a DR Rhythm type box after that but when the Roland TR-808 machine came out, I had to get one. It was perfect for the way I was working at the time and enabled me for the first time to program more or less exactly the beats I needed.
What had motivated you to take on a more electronic template? Were there any particular bands that influenced you?
For some reason I was attracted to electronic sound and noise. Possibly seeing KRAFTWERK at a very early and impressionable age on the ‘Tomorrow’s World’ TV show influenced me somewhat. I liked ‘Warm Leatherette’ by THE NORMAL and listened to THROBBING GRISTLE ‘20 Jazz funk Greats’.
The ‘Swing In 82’ material doesn’t seem so unusual now when you consider that your romantic post-punk peers like Martin Fry, Billy MacKenzie, Glenn Gregory and even Ian Curtis all had an interest in the stylings of Sinatra?
I guess not. For me it was an easy choice at the time as I had listened to Sinatra when I was growing up. What influenced me just as much however, was a double album called ‘Starring Fred Astaire’ which had some great songs on it, he was a good singer as well as an excellent dancer.
‘Metamorphosis’ also features your first forays into instrumental experiments and soundtracks, something that you’ve continued in your ‘Cinematique’ series of recordings. What do you get out of this type material that you can’t get with writing pop songs?
I don’t have to sing! Also, I like the freedom of creating instrumentals and not having to adhere to the same old structures of a normal song etc.
I get a lot out of using sounds and textures that create atmospheres that can end up going to different places as you work on them.
Which are your favourites tracks on ‘Metamorphosis’ and are there any particular reasons?
I don’t listen to it much, maybe ‘Time’ as it seemed like a new departure for me and I had a new synthesizer on the go. It was a bit like indie synth ABBA.
Some of this material was lost when you signed the licensing agreement with Island Records in 1982. In hindsight, did you anticipate how much control they were likely to impose?
Probably not, but I was prepared to play the game a bit at the time, that is until I didn’t. Mostly it was OK apart from the odd children’s TV show.
You were criticised for having Alex Sadkin to produce your first solo album ‘Rhythm Of Life’, but he was actually considered to be a credible producer at the time you worked with him…
I chose him because I really liked his mix of ‘Pull Up To The Bumper’ by Grace Jones. When we were recording in New York, I quickly realised it might have been better to go down an indie type road and work more with Anton Fier from THE FELLIES and people like that. We also met Arthur Baker and could have worked with him, but it just wasn’t doable. It was my own fault really as I wanted to go for the pop thing when I signed the deal. I think Alex was a bit preoccupied anyway, with producing DURAN DURAN and THOMPSON TWINS and I understood that.
Having the late Bernie Worrell play on your album was quite cool?
That was cool! He used to come into the studio with a small bottle of Jack Daniels in a brown paper bag. It seems mad now, but I used to sit with him in the recording room and he’d say “is this how you want it?” and I’d say “great, can you add this note…”
How do you feel about the ‘Rhythm Of Life’ today?
It’s a thing. It will always be a thing.
Bernard Sumner was involved in the production of ‘The Only Truth’, a track which many consider to be your best single, especially in its full length 12 inch mix? How did that track develop in the studio?
I had everything arranged before going in. I remember being left alone with the engineer to record the whole thing basically; the drum programming, the keyboards and guitars. It was after that, that Bernard and Donald Johnson started adding more to it like extra guitar, bass and percussion. We spent a long time on the sound of the percussion which I still notice if I hear it today.
During your career, you’ve worked with both Alan Rankine and Billy MacKenzie of ASSOCIATES separately. What were each of them like to collaborate with?
Billy was always very inspiring to work with, we used to risk our sanity in the process but it was always exciting. As he didn’t really play an instrument, his ideas would usually be sung at you.
Once we were in a studio that didn’t have any drum machine, so we burst a water filled balloon while sampling it and then made it into a bass drum.
When I worked with Alan, it was just as mad but we managed to get the job done somehow. I once sketched him cooking bacon in a London studio and in the sketch the bacon was saying, “please don’t hurt us Alan, please”.
‘Something Good’ was a minor German hit in 1989, what was it like to have some kind of commercial recognition after years of trying?
Don’t know actually as I’ve only heard rumours about that happening in France. I remember going to Germany briefly in 1985 to promote ‘Heaven Help You Now’.
You went on to work with Lil’ Louis and Kurtis Mantronik, what appealed to you about the club oriented music of that period?
I’d been aware of Mantronik/Mantronix for a while and really liked the production and beats. I don’t remember how Lil’ Louis came about really. I do recall they were in kind of competition with each other, always asking how I’d got on with the other one.
You’ve been quite bold in the choices of songs that you’ve covered like JOY DIVISION’s ‘Atmosphere’ and THE WALKER BROTHERS’ ‘The Electrician’?
Yes, it’s a bit cheeky really considering their voices. Don’t know what I was thinking 😉
Has the shake-up in the music industry over the last ten years worked in your favour?
I like the way you can put something out when you want to. If you don’t have a label, you can do it far more easily now. I also love the music making technology for production. With regard to the music industry, I feel removed from it. “Music” and “Industry”… there’s two words that don’t sound good together.
What’s next for you as far as musical projects are concerned? Are you working on a follow-up to ‘Kube’ yet?
I have been working on a new album for some time now. There are so many choices and amazing ways you can produce music now that sometimes it makes the whole process slower. I seem to have a different way of working now which is more time consuming, but well worth it in terms of sounds and production quality. So, the new album is a further attempt at finding the right balance between the synthetic / electronic and the organic / natural.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Paul Haig
Special thanks to James Nice at Les Disques du Crépuscule
‘Metamorphosis’ is released as a 2CD set by Les Disques du Crépuscule
‘Cold Science’ is a new singles anthology by Brussels cold wave indietronica combo LES PANTIES.
Founded by Hugo Fernandez (drums), Sebastien Decupere (guitars) and Paul Normann (bass), LES PANTIES are fronted by the deep, pronounced voice of Sophie Frison which at times, powerfully recalls Siouxsie Sioux. While their sound echoes other Belgian acts like THE NAMES, the modern electronic sheen of SOULWAX also makes its presence felt.
Like SAVAGES’ Jehnny Beth, Sophie Frison exudes a stylish gothique. Released on the iconic Les Disques du Crépuscule and compiling material released between 2011 to 2015, inevitably the spectre of JOY DIVISION and THE CURE looms over ‘Cold Science’. But with Frison’s vocals and the presence of sparkling string synths, the mood is lighter but still laced with tension.
Beginning with the brooding ‘Velvet’, while a conventional backbone dominates, the use of technology is one of LES PANTIES’ distinguishing attributes. The melodic bass and scratchy guitars of ‘The Gate’ are offset by swirling synths and one could imagine this being covered by MARSHEAUX if the syncopated percussion mantra was replaced by a Motorik drum machine beat.
‘Diving’ actually sees a drum machine and synthesized melodies taking on a more central role; both remain as constants in the musical core as the lengthy track percussively builds to a sexy, passionate climax. Meanwhile, the retro-futuristic indiepop of ‘Factory’ unsurprisingly sounds like early NEW ORDER while ‘Hazy Days’ comes over as if Siouxsie had joined Robert Smith’s combo back in the day, as opposed to the other way round!
The moody ‘White Tiger’ is layered with prominent keyboards to boost the angst ridden atmosphere but as it progresses, the guitars get much heavier. This trend continues with LES PANTIES’ more conventional debut single pairing ‘Porkshop’ and ‘Westie’, as the tracklisting moves along in reverse chronological order.
However, the best is saved until last with a superb sequencer assisted ‘L’Arrivée V2’ as a bonus track. Already an excellent disco inflected tune in its original guise, it is considerably enhanced with the use of more electronics and even tighter drum programming, courtesy of producer Ian Caple whose previous credits have included SHRIEKBACK, TINDERSTICKS, A-HA and EMILIE SIMON. It is in here in its second half that the SOULWAX influences really punch their way through.
It’s an indicator of how good LES PANTIES could become if they pursue this indie electro hybrid direction. Whatever happens next, ‘Cold Science’ makes a promising shop window for now.
‘Cold Science’ is released by Les Disques du Crépuscule in CD and download formats
James Nice is a music publisher and writer whose acclaimed 2010 book ‘Shadowplayers: The Rise and Fall of Factory Records’ provided a detailed and objective account of the legendary label. He also worked for the prestigious Belgian label Les Disques du Crépuscule in Brussels between 1987-91.
More recently, James has resurrected Les Disques du Crépuscule along with its sister Factory Benelux offshoot as platforms to reissue a vast catalogue of experimental and artistically driven music, in addition to releasing newer material from acts such as MARSHEAUX, MARNIE and DEUX FILLES. Back in the day, Les Disques du Crépuscule and Factory Benelux operated as separate entities, although the two labels shared the same premises and staff.
Among Crépuscule’s roster were Blaine L Reininger and Winston Tong from TUXEDOMOON, ASSOCIATES instrumentalist Alan Rankine and former JOSEF K leader Paul Haig. The first music release on Crépuscule came in 1980; ‘From Brussels With Love’ was a carefully curated cassette compilation which included music from John Foxx, Bill Nelson, Harold Budd and Thomas Dolby as well as spoken recordings by Brian Eno and Richard Jobson.
Meanwhile Factory Benelux notably released the 12 inch extended remix of NEW ORDER’s ‘Everything’s Gone Green’ in 1981 and spare recordings from Factory affiliated artists such as A CERTAIN RATIO, SECTION 25, THE WAKE and THE DURUTTI COLUMN.
The latter’s beautiful instrumental ‘For Belgian Friends’ was written in honour of the two labels’ founders Michel Duval and the late Annik Honoré. James Nice kindly chatted to ELECTRICITYCLUB.CO.UK about his various endeavours, past and present.
You wrote the book ‘Shadowplayers’ on the history of Factory Records. There have been several books about the label, what do you think your account gave that hadn’t been provided before?
Well, reliable facts properly researched! I did ‘Shadowplayers’ as a DVD first, in 2006, but I didn’t do the book until after Tony Wilson passed away the following year.
One of the books which influenced the approach I took was an excellent Creation Records history by Dave Cavanagh, which Alan McGee slated as the accountant’s version of Creation when it first appeared (though he changed his mind later).
I feared Tony might say the same thing about a Factory history written by me. He was more into myths and legends than truth.
I also wanted to include all the bands and artists, not just JOY DIVISION, NEW ORDER, HAPPY MONDAYS and The Hacienda; THE STOCKHOM MONSTERS have a tale to tell too. The French edition won a prize, actually. They sent me a leather jacket – which was a bit too small.
How do you see the public’s continued fascination with Factory Records?
I just glance at it in passing these days, because ‘Shadowplayers’ came out in 2010 and I’ve long since moved on. The entire story of Factory was hugely dramatic, genuine tragic in places, and populated by larger than life characters. You can’t really say the same of, for example, 4AD or Domino. I’m not sure you’ll see it repeated either, because music no longer produces the kind of revenue stream that would allow radical mavericks like Tony Wilson and Rob Gretton to build another Hacienda, and Peter Saville is a complete one-off.
Factory was a classic example of do the right thing, and the money will follow. Unfortunately, they then blew all the money on big recording projects and ill-judged property investments. Let’s leave it at that.
Factory Benelux and Les Disques du Crépuscule have common roots, but were quite different entities in their original ethos?
Both labels started in 1980. Factory Benelux was intended as an outlet for spare Factory recordings, hence a lot of the early releases like ‘Shack Up’ by ACR, ‘The Plateau Phase’ by CRISPY AMBULANCE and ‘Key of Dreams’ by SECTION 25 were exclusive to FBN. As time went on it became more like a normal licensee.
Crépuscule was something else entirely – a cosmopolitan boutique label, with an international roster and aspirations to kick start some kind of art movement in Brussels. In truth Factory were a little suspicious of Crepuscule early on, although later some Crépuscule albums appeared on Factory in the UK eg Anna Domino and Wim Mertens.
You worked for Les Disques du Crépuscule back in the day and lived in Brussels for five years. What are your particular memories of that time?
Way too many to mention. A couple of days after I quit Crépuscule (an argument about a 23 SKIDOO contract, not that anyone will be interested), I took a train to Amsterdam to meet William S. Burroughs.
He was holding court in a hotel with his manager, James Grauerholz. I took along some books to sign, as well as the Burroughs album I’d released on LTM, ‘The Doctor Is On the Market’. I don’t think WSB had even seen a copy before, but he scribbled “Good Work” on it. There was another guy there who was a Lufthansa pilot by day and wrote experimental cut-up novels in his spare time. I remember thinking at the time, I’d like to be that guy.
What are the aims of Factory Benelux and Les Disques du Crépuscule under your direction now?
Heritage curation, and new recordings where appropriate. Michel Duval is quite interested again, and we collaborated on the ‘Ni D’Eve, Ni D’Adam’ compilation at the end of 2015.
I really enjoyed that process, as a matter of fact. The new tracks and artists he brought to the project really added to it, and the artwork by Clou was great too.
I do a lot of boring back office stuff as well as making records, chiefly rights administration. You have to have all your ducks in a row when, for instance, Kanye West decides to sample a SECTION 25 track from 1981.
As well as reissues, Factory Benelux and Les Disques du Crépuscule have released new albums by SECTION 25, MARNIE, DEUX FILLES and others. What attracted you to back these recordings?
In the case of new albums by heritage groups like SECTION 25, THE NAMES and CRISPY AMBULANCE, as long as fresh studio projects are financially viable, and the music is good, then of course we want to be involved. Any label can simply recycle back catalogue, but I like to think we’re a little more committed.
The MARNIE album came to Crépuscule because I’m a LADYTRON fan and it was a perfect fit for the label. It worked for her too as she’d successfully funded ‘Crystal World’ via Pledge Music, but was less sure about how to actually deliver the CD version.
It’s important to back new music, and I’m delighted to be releasing ‘Cold Science’ by LES PANTIES later in 2016. They’re a young band from Brussels – terrible name, but great music!
Les Disques du Crépuscule also released ‘Odyssey’ in 2014, a career spanning compilation of MARSHEAUX. What do you find appealing about their music and which are your favourite songs?
I liked MARSHEAUX anyway, even before we began Crépuscule again back in 2013. Like MARNIE, they seemed like a good fit with the label’s heritage, much of which was modern electronic pop music. The focus was on original songs though rather than covers.
The title is a riff on Homer’s ‘Odyssey’, and the idea of a chronological story, and of course the old ARP Odyssey analogue synth. I’m quite good at coming up with album titles, if I say so myself. ‘Retrofit’ by SECTION 25 is probably the best – it popped into my head while I was watching a documentary about the making of ‘Blade Runner’. Perfect for a remix / reboot album.
Yes, very clever of you. But what’s your favourite MARSHEAUX song?
Well, the ‘Ghost/Hammer’ mash-up is the one we keep putting on LDDC compilations.
You maintain a close relationship with Paul Haig. Is he one of the unsung heroes of post-punk in your opinion?
I wouldn’t say unsung because Paul’s always attracted a lot of press and remains well liked by music writers, but I suppose he’s ‘unsung’ in the sense that he never had a proper chart hit. Ironically, his most popular album – on reissue anyway – is ‘Rhythm of Life’, which was considered far too mainstream at the time.
Paul just did things his way and wasn’t prepared to jump through all the hoops required of a mainstream pop star. For a start he was – and remains – far too shy.
Since you mention post-punk in the question, I’ll take this opportunity to plug a forthcoming Paul project for later in 2016, which is a 1982-based double archive CD including his early pop material (‘Justice’, ‘Running Away’), the Sinatra-styled ‘Swing In 82’ EP, the experimental electronica cassette ‘Drama’, and loads of odd singles and sessions.
He’d just left JOSEF K but had not yet signed to Island, and I’m not sure anyone else was quite that diverse and experimental at the time. It’ll be called ‘Metamorphosis’ – another Kafka reference. Told you I was clever with titles. Paul’s quite nervous about it, I have to say!
You’ve also worked closely with Alan Rankine in his post-ASSOCIATES career?
Well, not so much me personally. Back in the 1980s, Alan was married to Belinda Pearse, who was a Crépuscule director at the time, and so for a while he pretty much became the in-house producer at the label, working with Paul Haig, Anna Domino, Winston Tong, Ludus and his own solo material.
My time at LDDC in Brussels did overlap with his, but I didn’t work on any of those projects. He did three solo albums under the auspices of Crépuscule, and some of the music is the equal of anything he did with Billy Mackenzie. Unfortunately Alan isn’t quite as good a singer, though he is a brilliant writer, arranger, producer, guitarist and keys player. The instrumentals he did for Crépuscule work best, I think. We’ve spoken a couple of times this year. Once was to return some master tapes to him, and I also suggested him as a producer / collaborator for MARNIE.
Another unsung hero of the era is Mark Reeder and the release of his remix collection ‘Collaborator’ on Factory Benelux was a fitting acknowledgement of that. What was the process like to select the tracklisting?
Hmm. We tried to avoid replicating too many tracks that were on the earlier ‘Five Point One’ collection, and having Bernard Sumner singing on quite a few of the tracks should have made it seem more like an artist album than just a compilation.
Not sure the concept really gelled though. Mark isn’t easy to label – a lot of people think he’s a DJ, which is the one thing he isn’t (but probably should be). ‘Collaborator’ is a great album and should have sold a lot more than it did. In fact Mark regularly reminds me of that!
As a label manager, how do you decide on the formats that releases will be issued in? When do you know one format will be more viable than another, eg some are CD only, others are vinyl only?
Vinyl tends to be reserved for prestige items, and / or where you can fashion an art object from it, like THE DURUTTI COLUMN album with the die-cut glasspaper sleeve, which I’ll talk about later.
The recent JOSEF K singles collection ‘It’s Kinda Funny’ was vinyl only because there have been several JOSEF K CD compilations already, and because a 12” matt board sleeve was a great way of exhibiting the original artwork by Jean-François Octave.
I still prefer CDs because the sound is better, you can fit more material on them, plus they are easier to keep in print over a long period of time. In an era of declining physical sales, the increasing fragmentation of formats isn’t too helpful, at least as far as labels are concerned.
Vinyl retains cultural clout though. Releasing albums used to be like publishing books, whereas once the market became saturated with releases, it’s kind of become degraded and often feels as if you’re just publishing magazine articles. But a vinyl album still has the heft of a book.
Factory Benelux and Les Disques du Crépuscule were both known for tasteful artwork and you have maintained this aesthetic. The vinyl reissue of ‘The Return Of The Durutti Column’ had an interesting genesis?
With the Benelux reissue in 2013, the original intention was to replicate Fact 14 from 1980, with coarse sandpaper front and back and a flexi-disc.
Back then Tony Wilson was able to source 12-inch square sheets from a local company called Naylors Abrasives in Bredbury, near Stockport. They still exist, but they don’t manufacture sandpaper any more, and when I got in touch in 2012 to explain the project, they clearly thought I was a lunatic.
I’m not sure that glasspaper is even manufactured anywhere in Western Europe now. In the end we had to go to a company in China, whose minimum order was 10,000 sheets. What was a cheap and (relatively) easy package for Factory in 1980 turned out to be pretty much impossible to copy three decades later. It’s probably easier to source glasspaper in lurid colours rather than plain old beige, and the biggest rolls were only 11 inches wide. You can still source flexi-discs from one plant in the States, but they end up costing more per unit than a 12-inch vinyl album. Fortunately, however, not being able to do a straight copy served to liberate the project somewhat, so that we began to think in terms of a new edition which referenced the original, but offered something different.
The flexi became a hard vinyl 7”, which sounds far better, and we were now able to add an inner sleeve with period images and explanatory text. The 11-inch glasspaper squares took about eight months to arrive from China, and while we were twiddling our thumbs the designer, Carl Glover, came up with the idea of seating the glasspaper sheet on the front in a recessed deboss. A bit like a frame, thereby underlining the ‘art’ credentials.
Somewhat to my surprise the pressing plant in Germany agreed to assemble the finished package from start to finish, which was fortunate since I couldn’t imagine NEW ORDER agreeing to help out. I didn’t much fancy the idea of doing it myself. Like the building trade people we had to go through en route to China, the pressing plant just couldn’t understand why we’d want to release a record in a glasspaper sleeve. Someone suggested a photo of some sandpaper might be better…
Then, when the sheets finally arrived, some of the cutting was pretty rough, and the pressing plant insisted on a 3mm tolerance between each side of the sheet and the deboss. That would just look as though we’d fluffed the measurements, besides which even with a deboss, the glasspaper sheets simply stuck on the cover just didn’t have that ‘wow’ factor.
I spent a few days arguing with the plant about tolerances, and agonising generally, then decided that a die-cut would be just as impressive, with the glasspaper underneath, as if you were seeking it through a window. This scheme also overcame the issues about imperfect size and cutting of the glasspaper.
The only obvious, practical shape for the die-cut was Peter Saville’s original ‘bar chart’ logo, which appeared on the labels of most Factory releases between 1979 and 1980, Fact 14 included. It just looks right, and is also suggestive of a graphic equalizer, which I suppose is a bit Hannett. The pressing plant had already printed 2000 copies of the original inner bag though, so we had to throw those away. All the problems and changes also mean that the release date was late. Very Factory, I suppose.
The finished package looked even better than anyone dared to imagine, and housed in the polythene bag it has a fantastic 3D quality, plus the glasspaper catches the light beautifully. I was particularly delighted that Vini Reilly liked it. All the various headaches and reverses improved the design no end, and the addition of the die-cut means that you now have this unique Reid/Saville hybrid. Truly a happy accident.
Your CD reissues on Factory Benelux and Les Disques du Crépuscule are known for their comprehensive sleeve notes which are written by you. What is your philosophy and style regarding this?
I tend to focus on facts, and direct quotation from the people involved.
Creative writing I leave to experts like Paul Morley, Simon Reynolds and Kevin Pierce. My notes tend to be honest rather than gushing or pseudo-academic, and that’s probably why I rarely get commissioned to write liner notes for other releases! I think the last time was an ELECTRONIC retrospective. Johnny Marr just wanted a hagiography in which everything and everyone was, like, amazing and brilliant, all the time. Buyers aren’t stupid and don’t really want that. Then again, I probably have been a bit too glass half empty at times.
What are your thoughts on modern music, particularly the synthpop and electronic variety, having worked with a number of the original pioneers?
I really like EDM, it’s probably my favourite genre for blasting out loud in the car, annoying my daughter etc; RIHANNA, MISS KITTIN, TODD TERJE, electroclash, Xenomania productions.
A lot of what Crépuscule released during the golden years – the 80s, basically – was either very poppy (Paul Haig, Anna Domino, Isabelle Antena, Kid Montana), or pretty abstract (Wim Mertens, Glenn Branca, Gavin Bryars). That’s probably why my taste in music remains similarly schizophrenic.
If you’re asking who my current / recent favourites are then its TEGAN & SARA, ROBYN, M83, some NINE INCH NAILS, and the last NEW ORDER album. That was a spectacular return to form. Hats off to them, and to Mute.
Which have been your favourite reissues or products on Les Disques du Crépuscule and Factory Benelux over the years?
I can answer that in a heartbeat. My all-time favourite LDDC album is ‘Night Air’ by Blaine L Reininger, which came out in 1984 and was his first proper solo album during the time he was absent from TUXEDOMOON.
It’s a magical album about exile in Brussels and was a key influence on my relocating to the city a couple of years later. Expertly recorded and engineered by Gareth Jones, I might add. I’d love him to tour the whole album – maybe there will be an opportunity after TUXEDOMOON are done touring ‘Half Mute’ during 2016.
My favourite FBN reissues would be the glasspaper Durutti, or the pochette 2xCD edition of ‘Always Now’ by SECTION 25. Both presented considerable challenges, and both came off.
Are there any upcoming releases on Factory Benelux or Les Disques du Crépuscule you can tell us about?
I’ve been talking to a group from Brussels called LES PANTIES for a couple of years. I love their music – poised, sophisticated cold wave, with a hint of shoegaze – they have a great aesthetic sense, and Sophie Frison is an excellent singer. We just couldn’t agree about the name though. It might work in a French speaking country, but elsewhere it sounds like a novelty band. Eventually I just gave in and collected all their singles on an album, ‘Cold Science’, which is coming out on Crépuscule in September. It’s a bit of a passion project for me, I suppose. But it’s also one in the eye for people who carp we do nothing but reissues.
ELECTRICITYCLUB.CO.UK gives its grateful thanks to James Nice
Like their contemporaries JAPAN, Scotland’s ASSOCIATES are a band that burned briefly but brightly.
Fronted by the mercurial Billy MacKenzie and driven musically by multi-instrumentalist Alan Rankine, the group’s entire back catalogue has been remastered, accompanied by a new compilation. The MacKenzie / Rankine era albums ’The Affectionate Punch’, ‘Fourth Drawer Down’ and ‘Sulk’ have been supervised by silent partner and bassist Michael Dempsey. These 2CD deluxe editions include previously unreleased tracks and 28 page booklets featuring unseen photos, rare memorabilia and extensive sleeve notes to do justice to the ASSOCIATES legacy.
The young Alan Rankine grew up in Linlithgow, a town that was stuck between Glasgow and Edinburgh in more than just the geographical sense. The way he and MacKenzie came together seemed almost predestined, with the pair forming a live covers band to keep themselves afloat as a sustainable entity, while demoing their own material.
Courted by a number of labels, they decided to take control of the situation and independently released a cover of ‘Boys Keep Swinging’ only weeks after the Bowie original came out. As if by magic, Fiction Records offered a deal and their first album ‘The Affectionate Punch’ came out in 1980.
However, they were unhappy with their time on a conventional label and opted thereafter to licence their material, first with Situation 2 for their second album ‘Fourth Drawer Down’ and WEA for their commercial breakthrough ‘Sulk’. During their run of three chart hits in 1982, it would be fair to say ASSOCIATES gave SIMPLE MINDS a run for their money in the art rock stakes.
But stardom was not really something that suited ASSOCIATES, particularly MacKenzie. Sadly after the cancellation of a world tour, the pair parted ways, leaving SIMPLE MINDS to head for the stadiums while A-HA took up the mantle left vacant for melancholic cinematic multi-octave synthpop.
With the upcoming reissues soon to be released, Alan Rankine kindly spoke about his time with ASSOCIATES and the legend of Billy MacKenzie.
You and Billy played in a covers band which seems miles away from the usual route to the way bands at the time. Is the cover ‘Eloise’ on the ‘Very Best of ASSOCIATES’ indicative of the material were you playing?
Bill and I had a real affection for these kinda big sounding singles from the ‘67-‘68, we’re talking about things like ‘Rainbow Valley’ by LOVE AFFAIR, horns and strings and stuff. So we ended up doing a punk version of ‘Eloise’ by Barry & Paul Ryan, it was at breakneck speed!
As his catalogue has shown, Billy was very comfortable with doing covers?
We were both very keen on doing the occasional cover version. When we were in the studio or even at soundchecks, we would start playing ‘Brown Sugar’ or ‘Let’s Spend The Night Together’ by THE ROLLING STONES, or a Bowie or Roxy song. And then we would go onto ‘The Look Of Love’ by Dusty Springfield.
You and Billy bonded over a shared love of ROXY MUSIC, SPARKS and Bowie. Was it a gradual process coming up with that Venn diagram which became your sound?
I know exactly what you mean… it’s a Venn diagram with a few circles crossing over, but central to a lot of it was Bowie, a bit of Roxy, a bit art of art rock a la THE TUBES maybe and a bit of zaniness like THE REZILLOS. There was always an element of cheekiness in there. Anyone that was into music at that time just could not help be influenced by Bowie, but I think we had a more cinematic approach.
We loved our film themes, how they could hug your emotions and pull you this way and that way, just with a change of a chord here and the introduction of a different instrument there.
The cover of ‘Boys Keep Swinging’ forced Fiction’s hand and led to the recording of ’The Affectionate Punch’. You seemed to almost immediately find your own sound.
We did the recording of ’The Affectionate Punch’ very quickly in about three and a half weeks including mixing and mastering. Then we went into rehearsals and only played three songs from the ten track album which didn’t please the record company very much. But we just said “F*** YOU”, we just played what we felt was good. ’The Affectionate Punch’ has a lot of keyboards on it and we wanted to go out as just guitar / bass / drums / vocals. We played ‘Gloomy Sunday’ as well, which didn’t surface on record until 1982, so it was a bit of a mish-mash.
How did you get back into using synths again?
When you’re out there playing live to 600-700 people, it’s really fun to have a post-punk aesthetic but when you start recording again, it’s a luxury and you’ve got to have this sound. So we had five keyboards all lined-up ready to go, five different guitars and five different amps. We would work at breakneck speed, not because there was a time pressure, but because we had so many ideas coming into our heads at the same time. We wanted sumptuousness and for it to be dripping with silk and satin, we didn’t want cotton! *laughs*
Which keyboards where you using?
Digital-wise, we used the Synclavier. These geeky guys used deliver this thing which we hired by the day and it had floppy discs. It was fairly primitive, but it worked. Apart from that, we used Oberheims, Solinas, Yamaha CS80s, that sort of thing… there was another one starting with a ‘P’ but I can’t remember what it was! *laughs*
We liked to try and do different things; very seldom did we just use a preset sound and not put an effect on it in some way. Sometimes, we would just play a sound and hold down the notes of a chord and changed positions as the chord progression changed, and the sound would open up as the snare drum would hit. So it was like a Wah-Wah effect which was in time with the snare. The snare drum triggered off the sound, so it would open up and immediately shut.
‘White Car In Germany’ was an obvious nod to KRAFTWERK and LA DÜSSELDORF, but I seem to remember Billy saying he was really into THE HUMAN LEAGUE?
Yes, I can remember when we were in Ashley Newton of RSO Records’ BMW and he was playing THE HUMAN LEAGUE when he drove us to the studio. We thought it was great; I wouldn’t call Phil Oakey a vocalist, I would call him a vocaliser and there was brilliant songwriting from Jo Callis who was in THE REZILLOS. He wrote ‘Don’t You Want Me?’ so yeah, it was just the sheer pop of it. To us, it was really no difference between that and ‘Dancing Queen’ by ABBA, that’s bloody genius!
You and Billy popped down to The Blitz Club occasionally and you documented your experiences on ‘Club Country’…
We were definitely there fairly early on when it was in Great Queen Street. Yes, it was a bit exotic and yes, it was a bit pretentious but it was a young animal finding its feet; sometimes it did feel a little bit elitist and I think that was the nature of the beast, it was what it was. I don’t think we really fitted in; I think SPANDAU BALLET fitted in there but I think we fell between two points. We were not New Romantics, we were not post-punk… were we new wave? I don’t know! The closest I can think of, if there was a category called Barking Mad, that’s where we would lie! *laughs*
What was the approach to recording Billy? Do you remember any particular quirks you can remember?
Recording Bill was such a luxury. After I went on to produce other people, I thought everyone was like that, I thought they all got it in one or two takes! God, how wrong I was! I found myself thinking “this is sh*t” and they’re on like their 40th take in the studio and it’s still not right! So you’re having to make up composites of five different takes! On ‘White Car In Germany’ and ‘Kitchen Person’, Bill did sing through greaseproof paper and a comb. And into the bargain, on ‘Kitchen Person’ he was singing down the hose of a vacuum cleaner before it got to the mic.
‘Party Fears Two’ hit the top 10 in early 1982. The instrumental version included on CD2 of ‘Sulk’ brought a tear to my eye for a number of reasons. It revealed a lot of layers and each instrument has its own voice, but ultimately, Billy is missing…
You’re exactly right there; it’s like a great big hole. Yes, the instrumental sounds good and you can hear things more clearly in a more defined way. But yes, the lyrics, the vocal expression and the colour of the human voice, Bill had it all.
Looking back, you weren’t ones for following the usual script. With the subsequent success of ‘Sulk’, it set you on the path that led to implosion of the band.
We recorded ‘The Affectionate Punch’ in the Spring of 1980 but promptly ditched most of the album and did new songs, some of which would appear on later albums and played in Scotland.
I’ve looked up our gigography and we were up there for about two and a half months, playing maybe thirteen or fourteen gigs. So there was no tour laid out in front of us, it was more “oh, have we got a gig this week?”
Then we moved down to London and it was slightly more structured there. We’d play a month of Sundays at The Marquee etc but still, not like a world tour. But having your life mapped out for the next fifteen months, where you’re going to be, who’s going to meet you, how many radio stations you’re doing, how many press interviews you’re doing, that to Bill was just an anathema… that would freak anyone out, but it freaked Bill out because he was being boxed in. All we really wanted to do was be creative. Or if he was going to do a concert or two or three, that would be enough… ten days into the future was enough for Bill to take.
’18 Carat Love Affair’ is often considered the anomaly in the ASSOCIATES’ cannon and has been described as “quasi Neil Sedaka”… how do you look back on it? In retrospect, it was quite subversive to have a perfect pop song about a secret gay relationship in the charts in 1982.
Yeah, that’s another one. With ‘Party Fears Two’, the piano motif was written by us in 1977… we stared at each other hungover one Sunday morning and said “this is good but we can’t use this right now”. And indeed, we didn’t until five years later, the market just wasn’t there for it. Similarly with ’18 Carat Love Affair’, to me it’s like 60s pop song, the melody, the feel of it. I like the fact it’s got an agony aunt in the lyrics, Evelyn Home who was in ‘Woman’ magazine and it was about a secret gay affair.
Is there anything you could have done differently in retrospect to keep the partnership together with Billy?
I really don’t think so, because Bill needed to stretch his legs creatively and work with other people… I get that now. At the time, yes I was mad as hell and all the rest of it, but that’s what he needed to do. He needed to work with YELLO and write the lyrics and melody to ‘The Rhythm Divine’; he needed to not be with me. I don’t think there was anything we could have done about that.
You continued to record with other artists like Paul Haig and Winston Tong. Would the recordings you did with them be an indicator of how ASSOCIATES might have sounded if you’d continued to work with Billy?
They’re different in that Paul’s a great vocalist, but he’s not Billy; he’s not got a four octave range and Paul really can’t sing unless it’s through microphones, he needs his voice to be electrified for him to feel comfortable.
Winston? Not the greatest singer! You had a forty-five minute window to try and get a performance out of him before he fell over, he was taking a little too much heroin although I’m glad to say he’s clean now. But he was having a real bad time when he was recording the ‘Theoretically Chinese’ album with me.
Again, with Paul and Winston and with whoever else, everything was done very quickly and it was always a great laugh and good fun.
After several solo records on Les Disques du Crépuscule and Virgin, you got back together with Billy in 1993 but he didn’t follow it through with the pressure for live shows. Was there no-one willing to take ASSOCIATES on as a studio-only band?
No, all the record companies were interested, but they were saying “PROVE IT!”… that was like a red rag to a bull for Bill, he just said “I’m not f***ing proving myself to anyone! Get real!”
Would the environment of today with self-releasing been better for him?
It probably would have suited Bill right down to the ground.
Are you surprised by people’s continual fascination with the band?
I think there’s a great deal of good will with regards the memory of ASSOCIATES and the memory of Bill, plus a certain amount of frustration because a lot of people that heard us in ‘81 and ‘82 hadn’t seen us play live in 1980-81, so you never know… *laughs*
What are your personal favourites from these releases?
On ‘The Very Best Of ASSOCIATES’, it’s got to be ‘International Loner’ and ‘Edge Of The World’. These were both done in the 1993 sessions; I see and hear them as a much more mature sound. I suppose ‘Skipping’ is probably my all-time favourite, although really, it’s ‘Party Fears Two’ because it gets played a lot.
But also, if you go back to the cover versions, ‘Long Hangover’ because I can remember being in Moulin Rouge Studios and Bill did that in two takes. There’s something about doing a cover version because you’re not in any way insular or self-conscious. Just watching and listening to Bill in full flight without a care in the world, there’s something very special about that.
What does the future hold for yourself?
I’ve done everything from perfume adverts to wet your panties teen pop. I just write and write whatever comes into my mind.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Alan Rankine
Additional thanks to Stuart Kirkham at Hall Or Nothing Independent Publicity
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, an archive 2CD collection released by Les Disques du Crépuscule.
. 
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Paul Haig
. But with Frison’s vocals and the presence of sparkling string synths, the mood is lighter but still laced with tension.
was a carefully curated cassette compilation which included music from John Foxx, Bill Nelson, Harold Budd and Thomas Dolby as well as spoken recordings by Brian Eno and Richard Jobson.
One of the books which influenced the approach I took was an excellent Creation Records history by Dave Cavanagh, which Alan McGee slated as the accountant’s version of Creation when it first appeared (though he changed his mind later).
Factory Benelux and Les Disques du Crépuscule have common roots, but were quite different entities in their original ethos?
compilation at the end of 2015.
via Pledge Music, but was less sure about how to actually deliver the CD version.
, and the idea of a chronological story, and of course the old ARP Odyssey analogue synth. I’m quite good at coming up with album titles, if I say so myself. ‘Retrofit’ by SECTION 25 is probably the best – it popped into my head while I was watching a documentary about the making of ‘Blade Runner’. Perfect for a remix / reboot album.
Paul just did things his way and wasn’t prepared to jump through all the hoops required of a mainstream pop star. For a start he was – and remains – far too shy.
is a great album and should have sold a lot more than it did. In fact Mark regularly reminds me of that!
was vinyl only because there have been several JOSEF K CD compilations already, and because a 12” matt board sleeve was a great way of exhibiting the original artwork by Jean-François Octave.
The only obvious, practical shape for the die-cut was Peter Saville’s original ‘bar chart’ logo, which appeared on the labels of most Factory releases between 1979 and 1980, Fact 14 included. It just looks right, and is also suggestive of a graphic equalizer, which I suppose is a bit Hannett. The pressing plant had already printed 2000 copies of the original inner bag though, so we had to throw those away. All the problems and changes also mean that the release date was late. Very Factory, I suppose.
by 
It’s a magical album about exile in Brussels and was a key influence on my relocating to the city a couple of years later. Expertly recorded and engineered by Gareth Jones, I might add. I’d love him to tour the whole album – maybe there will be an opportunity after 
came out in 1980.
and WEA for their commercial breakthrough 
. During their run of three chart hits in 1982, it would be fair to say 
; he needed to not be with me. I don’t think there was anything we could have done about that.
album with me.
, it’s got to be ‘International Loner’ and ‘Edge Of The World’. These were both done in the 1993 sessions; I see and hear them as a much more mature sound. I suppose 
is probably my all-time favourite, although really, it’s ‘Party Fears Two’ because it gets played a lot.
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