Mark Reeder has carved out an impressive reputation for his catalogue of fine remixes since the success of his electronic dance music record label MFS which launched the careers of internationally renowned DJs such as Paul Van Dyk and Cosmic Baby.
He had moved to Berlin in 1978 having become fascinated by the artistic diversity of the city and was Factory Records’ representative in Germany between 1978 to 1982. He also worked with bands such MALARIA! and DIE TOTEN HOSEN while simultaneously being part of cult duo DIE UNBEKANNTEN who later morphed into SHARK VEGAS and toured Europe with NEW ORDER.
His passionate attention to detail gained many notable admirers within the music industry. So when Reeder focused on remixing at the start of the new century with his studio partner Micha Adam, he was given the opportunity to work with major artists such as John Foxx, PET SHOP BOYS, DEPECHE MODE and BLANK & JONES.
As the man credited for introducing NEW ORDER to electronically propelled dance music, when Mark Reeder spoke to ELECTRICITYCLUB.CO.UK in 2011, he said: “I’m old school. I like to still be able to hear the song, but give it my own signature and atmosphere, while at the same time use as many of the original elements as possible”.
Reeder’s visceral approach provided a developmental enhancement to the music while retaining an all important degree of familiarity and accessibility. A number of these results ended up on his lush surround sound compilation package ‘Five Point One’ in 2011.To follow-up ‘Five Point One’, the revived Factory Benelux label have issued ‘Collaborator’, a new compendium of remixes and collaborations by the still Berlin-based Reeder.
A significant number of tracks feature his long-time friend Bernard Sumner who appears vocally in four guises with the songs reworked in a classic electronic style not really heard since NEW ORDER’s ‘Here To Stay’ in 2002 and ELECTRONIC with Johnny Marr. First, there are Reeder’s versions of BAD LIEUTENANT singles ‘Sink Or Swim’ and ‘Twist of Fate’ which are without doubt, more enjoyable that the guitar driven originals.
Meanwhile, the wonderful ‘Miracle Cure’ helmed by dance merchants BLANK & JONES could easily be mistaken for a NEW ORDER dance track in its Reeder interpretation. Best of all though is ‘She Wants’, Sumner’s most recent collaboration with WESTBAM – given an Old School Remix by Reeder, it does what its says on the tin.
However, the previously unreleased demo of ‘Crystal’ which Sumner first recorded with Reeder and Corvin Dalek is perhaps less essential but welcome, giving as it does, a very different Deep House view of the song from its ‘Get Ready’ rock out. But how marvellous it is to hear Sumner being given a synth driven backbone again? Now while his guitar has always been an essential ingredient to NEW ORDER, his tracks on ‘Collaborator’ are evidence if any that should the Manchester brand ever record new material again, not only should the direction be electronic but also, Mark Reeder should be behind the mixing desk as well.
‘Collaborator’ also highlights Reeder’s love of female fronted synthpop. Reeder’s So Close Remix of MARSHEAUX’s ‘So Far’ and a smooth Euro styled Sweet & Sticky rework of MARNIE’s ‘Sugarland’ display an affinity with ELECTRICITYCLUB.CO.UK’s own tastes.
*
But things are then taken to the next level with his remix of QUEEN OF HEARTS’ ‘Neon’; ELECTRICITYCLUB.CO.UK is pleased to say it assisted in bringing the two parties together and the resultant Electrically Excited Remix is a rich slice of euphoric electro schaffel that has been well worth the creative intervention.
The remaining collaborations are an interestingly eclectic bunch it has to be said. How many compilations can claim to bring together post-punk veteran Anne Clark, DURAN DURAN bassist John Taylor AND artist Sam Taylor-Wood?
Clark cuts her stern poetry on ‘The Hardest Heart’, a track originally reconfigured for Reeder’s ‘Reordered’ project with BLANK & JONES while Sam Taylor-Wood teams up with old pals PET SHOP BOYS for an extended retro restyling of THE PASSIONS’ I’m In Love With A German Film Star’.
John Taylor’s ‘C’est Tout Est Noir’ however is more intriguing being a recent offering with KOISHII & HUSH and the first lead vocal from the David Beckham of New Romantic since his solo single ‘I Do What I Do’ from the ‘9 ½ Weeks’ soundtrack in 1986. Reeder’s Black Night Remix improves on the original, bringing with it a body of stark musicality as well as bringing out the moodier aspects of the song.
The conclusion of the album completes the circle of Reeder’s musical journey and goes back to DIE UNBEKANNTEN’s ‘Radio War’ from 1982 and SHARK VEGAS’ 1986 Factory Records release ‘You Hurt Me’. This pair of archive recordings actually shows how Reeder’s own musical journey has to an extent, mirrored that of Sumner’s.
‘Radio War’ is more like JOY DIVISION, all doom laden, bass heavy and claustrophobic while ‘You Hurt Me’ produced by Bernard Sumner is characterised by the sort of New York disco sequence programming that made NEW ORDER famous. Both are interesting curios in the story of how Reeder has arrived here today.
In the excellent interview by John Cooper featured within the booklet liner notes, Reeder says: “I always want my remixes to be as recognisable as their original song. This is always my concern when making a remix”.
This CD only package (please take note record labels – vinyl is NOT everything!) is a fine catalogue of MARK REEDER’s career to date covering key aspects of classic and contemporary electronic pop. ‘Collaborator’ proves that the modern day club remix doesn’t have to be death by four-to-the-floor and can be a song oriented art form in itself.
With thanks to James Nice at Factory Benelux
‘Collaborator’ is available now on CD only via Factory Benelux from Amazon and other retail outlets
‘Animal Magnetism’ is a great new album by the mysterious Rio based Irish musician Gary Collins.
The wonderful opening track ‘Heartbreaker’ with its vocodered layers and synthesized goodness captures the vein of ‘Nightcall’ by KAVINSKY from the acclaimed film ‘Drive’… perhaps not by coincidence, Collins has also remixed ‘Nightcall’ as if to confirm the link. From the first listen, aural curiosity gets the better… the remainder of the collection is a superb, primarily instrumental collection with the Moroder-esque disco vibes of ‘If Looks Could Kill’ and the David Lynch reimagined by ‘Black Celebration’ era DM cover of ‘Falling’ being particular highlights.
The synthetic drifts of the brief ‘We Were The Ones’ recall William Orbit’s ‘Strange Cargo’ project while the filmic ambience of ‘Walk With Me’ with its incongruous blues guitar soloing by Johnny Accioly is based around the classic pop tune ‘Stand By Me’ (…the soulful Ben E King hit, NOT the dreary Oasis whine!) and makes a fitting closer. But it’s not all sedate; ‘Coping Mechanism’ for example is positively Italo be thy name!
The pulsating ‘Serenade’ with its more contemporary digital sheen is sweetened by the serene whispers of Ana Gabriela Accioly and holds the listener into a dreamlike state. However, at the opposite end of the spectrum, ‘The Sacred’ is altogether more sinister and unsettling with its demon robot rambling. With influences ranging from DAFT PUNK to THE BEACH BOYS and using a combination of Moog hardware and virtual instruments in Ableton Live, this is perfect evening listening with chilled vibes healthily resident in the mix.
The Collins dictionary definition of Animal Magnetism is “the power to attract others through one’s physical presence”. Collins himself says: “As I sit here now, trying to recall the events from 30 years ago, in that spring of ’83, that led to my journey into the darkness of an unanswered love. A darkness so sweet and captivating, I wished never to return. The memories, though vague at best, are trapped, haunting the deep recesses of my mind. This is what they sound like…”
Following her Arrival in 2011, QUEEN OF HEARTS graces the music world with a glitzy slice of electro schaffel appropriately entitled ‘Neon’.
On first hearing this live, ELECTRICITYCLUB.CO.UK gleefully pronounced that this managed to “out Goldfrapp GOLDFRAPP”. While this has the obvious hallmarks of Lady Alison’s glam stomp, Queenie adds her own cooing poptastic flavour, recalling RACHEL STEVENS’ under rated lost album ‘Come & Get It’. The video for ‘Neon’ is directed by fashion gurus Between Man & Beast and comes with a healthy slice of gothic vampishness.
Meanwhile, the flipside is ‘Tears In The Rain’ produced by Stefan Storm of THE SOUND OF ARROWS who co-contributed the brilliant ‘Shoot The Bullet’ on her debut ‘The Arrival’ EP. ‘Tears In The Rain’ is a gorgeously atmospheric piece, crisply Nordic and simply spine tingling.
Also doing the rounds is the magnificently epic MARK REEDER Electrically Excited Remix plus its Electrically Charged Radio counterpart. His portfolio consists of PET SHOP BOYS, DEPECHE MODE, JOHN FOXX and MARSHEAUX courtesy of his ‘Five Point One’ collection and of his crafted restyle, QUEEN OF HEARTS herself says: “This one is just a little bit special…♥” And she’s right!
Other remixes are available by LIGHTWAVES and GOLD BEACH. All this and there’s the excellent Stuart Price produced ‘Feel’ still to come…
‘Neon’ b/w ‘Tears In The Rain’ is unleashed as a vinyl and download by All Things Go Records on 14th May 2012. The download features bonus tracks Forgive Me and No More while the 7″ is available to pre-order now at http://shop.atgrecords.com/product/neon-tears-in-the-rain-7
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/
We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it.Ok
Follow Us!