‘The E-bay Queen Is Dead’ is a fantastic collection of rarities, covers and unreleased tracks from the MARSHEAUX archives.
Although the artwork pays tribute to THE SMITHS’ ‘The Queen Is Dead’, content wise, the album probably has more in common with the Manchester foursome’s ‘Hatful Of Hollow’. Housed in two different vinyl replica gatefold sleeves featuring Marianthi and Sophie in that iconic pose made famous by Alain Delon, these CDs are worth the purchase price for that alone…but what about the content?
As can be expected from the Athens synth maidens, the quality is top notch. ‘Do You Feel?’ and ‘Inside’ aka ‘Thirteen/True’, which were recorded during the sessions for their upcoming new album ‘Inhale’, are a fine indicator of what could be expected from this highly anticipated fourth long player. Previewed online earlier this year, they reveal the high standards of MARSHEAUX’s output even though this pair will not be included on the final tracklisting.
The ‘Breakthrough’ B-side ‘How Does It Feel?’ is a suitably strange mechanised addition to the tradition with its wobbly effects and chopped up breathy samples. ‘Sadly’ is another fine tune originally recorded for their second album while there is also the brilliant FRONT 242 influenced ‘Bizzare Love Duo’ which was previously a vinyl only release coupled with ‘Ghost’.
Meanwhile, ‘Ghost’ itself makes an appearance in the form of a great Smash Up with FOTONOVELA’s ‘Hammer’, turning the song into a more dance laden cocktail. And despite being a slightly more throwaway offering, the ironically titled ‘Fischerprice’ is good fun although unlikely to win any songwriters awards.
MARSHEAUX are known for their charmingly delightful synthpop covers and THE HUMAN LEAGUE’s ‘Empire State Human’, Billy Idol’s ‘Eyes Without A Face’ and a solo interpretation of OMD’s ‘She’s Leaving’ are all present and correct. However, their version of DEPECHE MODE’s ‘New Life’ from Undo’s ‘A Greek Tribute To Depeche Mode’ CD is absent and would have been preferable to the shortened stripped down alternate strings mix of NEW ORDER’s ‘Regret’ from ‘Peek ABoo’.
Of the little heard archive recordings included, the electroboppy instrumental ‘Now & Never’ is a very promising demo that would make Vince Clarke proud while the two short variations of a theme entitled ‘Fly Away’ and ‘Cosmogirl’ indicate the potential for a magnificent full length composition. ‘The E-bay Queen Is Dead’, despite the disparate sources of the tracks, delivers a mostly cohesive listening experience and will become a highly collectable artefact. So don’t hesitate… if you see it, buy one. Or two if you fancy owing the set!
Comprising of Marianthi Melitsi and Sophie Sarigiannidou, the name MARSHEAUX is actually derived from the first syllable of each of their names.
Originally from Thessaloniki, the girls moved to Athens and came together to further their appreciation of electronic pop music. Brought up to the sound of the synthesizer and learning to dance to the beat of electronic drums, Marianthi and Sophie lived on a healthy diet of DEPECHE MODE, HUMAN LEAGUE, OMD, SPARKS, SOFT CELL, DURAN DURAN and NEW ORDER.
They released their first studio album’ e-Bay Queen’ in 2004. MARSHEAUX’s irresistible mix of classic pop hooks and virtual analogue synthesis has seen them stretch their sophisticated appeal across Europe.
2007’s ‘Peek ABoo’ made a great bleep forward but it was their third opus ‘Lumineux Noir’ that was considered to be MARSHEAUX’s most accomplished work to date. Well received appearances at festivals including Pluswelt and Amphi have gained them a loyal, enthusiastic following. In addition, MARSHEAUX have also played prestigious support slots for OMD, ROISIN MURPHY and CLIENT. As well as recording original material, MARSHEAUX have remixed for other artists from DEPECHE MODE, THE HUMAN LEAGUE and OMD to Moby, Katy Perry, Mylène Farmer and Andy Bell.
In a break from recording their fourth album, ELECTRICITYCLUB.CO.UK were kindly granted an audience with MARSHEAUX and chatted to us about their upcoming campaign.
The new album has taken longer perhaps than the fans were expecting. What has been happening since ‘Lumineux Noir’ in 2009?
There may have been three years since the last album but it doesn’t mean though that we haven’t done any other work! We did a lot of remixes and collaborated with other artists too. The truth is though that we work with our own time schedule. We don’t put deadlines and we don’t want to get stressed about it. Also, the last two years of the crisis happening here in Greece, it would have been a lie if we’d said that it didn’t affect us.
How do you look back on ‘Lumineux Noir’? Many considered it your most accomplished piece of work, your ‘Violator’…
Ha! Ha! We’d rather say that ‘LN’ was our ‘Low Life’ and that now, we are releasing ‘Technique’. So you have to be patient about our diamond ‘Power Corruption & Lies’. ‘LN’ was literally a wonderful album. We had great critics coming from all over! Our new album though is going to be even better than that!
Have your writing and recording methods changed much since Lumineux Noir? Where has there been the biggest development in your opinion?
We haven’t changed much. The way we write songs is exactly the same as before… the only thing that has changed is that we have better sound cards and mixer!
Have you purchased any new toys or instruments to help you along?
We’ve bought some old drum machines like Linn Drum LM2 and Oberheim DMX. Also the Korg PSS50 Super Section that Martin Rushent once advertised which we bought from Dean Honer of I MONSTER who did the production for THE HUMAN LEAGUE’s ‘Credo’. We also want to buy the Dave Smith Tempest designed by Roger Linn!
You have been unfairly criticised for your lyrics in the past… I would like to see these people write in Greek. How are you finding this aspect of your songwriting now?
We never claimed to be the Leonard Cohen of electropop. A lot of wonderful phrases in Greek don’t sound as great in English or even worse sound silly when written down on paper. You have to think and write like you are English, which is really difficult as we are not brought up there! We’ve made an extra effort on the new album though!
What new musical influences have there been? FEVER RAY seems to be one, but are there any others?
If you are referring to’ Can You Stop Me?’, you may be right, but it is the only song written in that style. We really love FEVER RAY but she’s never been of our main influences! We prefer THE KNIFE. We haven’t been influenced by any in particular in this album.
You had over twenty songs to choose from for this album? How did you come to your final selection?
It’s been really hard because the three years that have passed since ‘LN’, we’ve written a lot of demos. The twenty songs we’ve come down with are considered to be the ones that have the dynamic for a new MARSHEAUX album. Eleven of them made it to the album, some of rest remained really rough, some others were completed but were rejected. These ones are going to be put, among with other obscurities, in a compilation named ‘The eBay Queen Is Dead’, that will be only be available at our concerts.
How would you describe the sound of the new album? What makes it different to ‘Lumineux Noir’ and your other work?
Atmospheric electro pop… honestly it is difficult to tell the difference from our other albums. All of the albums are our children. Each one of them symbolizes a different time period in our lives. ‘eBay Queen’ has the naivety of the beginner, ‘Peek ABoo’ has all our optimism and a very good mood while ‘LN’ is a bit darker. The new one has our feelings more exposed and is more daring.
What are your favourite songs from the new album and why?
‘Self Control’, ‘Alone’, ‘Inhale’, ‘End Is A New Start’ and ‘Come On Now’ are some but we won’t say more, because we don’t want to spoil it!
How is the packaging looking for the new album? What crazy proposals did you consider and reject?
We really don’t know yet. We’ve already discussed some ideas with Undo, the only thing for sure is that we are going to use our own images on the cover. We’d really love to have a colorful 7’’s box. We love to have vinyl. We believe it would work with our aesthetics. Undo is going to release all of our three past albums in vinyl in 2012.
Which festivals and countries do you hope to be playing as part of this forthcoming album campaign?
We already have Spain, France, Portugal, Sweden, Canada and USA booked. We have to wait though first for the album to come out so that we later can announce our tour! Another difference from the other albums is that we have decided to tour for this one, something we’ve never done before!
Your favourite songs or albums by other artists at the moment?
Has ORBITAL’s album been released? We’ve great expectations from this one! We’re also waiting for the new HOT CHIP. The 2BEARS side project was really good. Thomas Dolby’s album was a surprise! WASHED OUT are great! Same goes for John Maus. We were expecting much more from GRIMES and of course we have to mention THE SOUND OF ARROWS and Johan Agebjörn’s ‘Casablanca Nights’, their work that got stuck on our players. We also love ECHOES, they are going to remix our new single and we recently heard STILL CORNERS ‘Creatures Of an Hour’! Great work too!
ELECTRICITYCLUB.CO.UK gives its sincerest thanks to MARSHEAUX and Undo Records.
In these days of modern remixing, recordings are often reworked to oblivion with the end result being a pointless club track that bears little relation to the original.
In these types of reinterpretations, vocal samples might occasionally appear but everything else is as good as rendered unrecognisable. One of the worst early examples of this indulgence was the Transcendental Constant Viper Mix of OMD’s ‘Stand Above Me’ by Phil Kelsey from 1993… that case was made even worse because what had actually been reworked was another track altogether, namely ‘Dream Of Me’!
Who these versions are aimed at is often a mystery although an excellent article on How The Major Labels Sold ‘Electronica’ To America sheds light on how this madness may have started. And now today with reciprocal remix arrangements being used as part of a dual marketing tool, sometimes quite incongruous pairings are procured with the final outcome getting a mixed reception and often alienating both sets of fanbases.
However, some artists take a more sympathetic approach to the remix opportunity and offer beat enhancements, extra melodic parts and instrumental breakdowns to compliment a track in a far more classic tradition. Richard X, Mark Reeder, PET SHOP BOYS, THE MANHATTAN CLIQUE and FREEMASONS have proved to be fine purveyors of this more accessible song based interplay. But one duo who outstrip them all with their digi-electro style are Athens based synthgirls MARSHEAUX.
Together with their producers FOTONOVELA, Marianthi Melitsi and Sophie Sarigiannidou combine their best synthpop sensibilities with both feet on the dancefloor to deliver some of the best received pop styled remixes of the last ten years with many established artists among their portfolio. These include official commissions, such as one for Katy Perry which has since become the biggest selling single recording that MARSHEAUX have been involved in, as well as bootlegs for their own club DJ sets.
The gift Sophie and Marianthi have when remixing is they always manage to enhance a song with their stamp while retaining the core essence of the original – simple in theory but in reality, not an easy thing to do! But when MARSHEAUX had a go at remixing OMD’s comeback single ‘If You Want It’, even their dainty craft work couldn’t turn that particular donkey into a racehorse!
So with a new album from Sophie and Marianthi still a while away, here then are MARSHEAUX’s best 18 remixes to check out, in alphabetical order by artist. ELECTRICITYCLUB.CO.UK believes this impressive collection would make a rather good compilation album. Perhaps it could be called ‘Dream Of A Disco’?
CLIENT Its Not Over (2008)
MARSHEAUX took their visual inspiration from CLIENT so when they toured Germany together in 2008, it was a most perfect pairing. On ‘It’s Not Over’, some Hellenic shine is added to CLIENT’s Cold War chic for a slice of electro perfection. Sarah Blackwood’s vocal is given space to breathe while the sharpened glitterball backing retains the fuzzy edge of the original but with some additional Eurocentric riffage.
Available on the CD EP ‘Its Not Over’ via Out Of Line Records Germany. Listen on YouTube http://youtu.be/P1A9d6kU7JE
This synth trio hail from Stockholm but with singer Paulinda’s Italian heritage, a Mediterranean flavour colours their cooler Nordic spirit. So with that in mind, come the bouncy remix of an already brilliant track, this version of ‘It’s A Game’ could easily be mistaken for one of Sophie and Marianthi’s own recordings.
Available on the download single ‘It’s A Game’ via Graplur Records Sweden
Already a magnificent brooding epic in its original form, this mighty opener to the ‘Playing The Angel’ album boasted “pain and suffering in various tempos” was brilliantly transformed by MARSHEAUX. They adding their own sparkling top end dynamic as well as an ominous bass rumble. Although never officially released, this was voted top remix in a poll of DEPECHE MODE fans.
The original first appeared in 2008 on an EMI Greece related compilation as part of the lead up to a full single release by Undo Records. However, this did not materialise and it wasn’t until Autumn 2010 that it was issued in its own right as an independent EP. The original was good but MARSHEAUX’s remix was even better. The girls toughened ‘Mirrorball’ up to an EU friendly dancefloor splendour with additional air-synth riffage and interluding attacks that added some extra energy to proceedings.
Available on the CD EP ‘Mirrorball’ via Eden Records
Gallic songstress Mylène Farmer is her country’s equivalent of Madonna if slightly less controversial and diva-ish. Her sound does seem to benefit from disco enhancements, having already scored a No1 in her own country with the MOBY / MANHATTAN CLIQUE collaboration ‘Crier La Vie’. Almost translating as “do more bitterness”, this ballad is given a dreamy uptempo facelift by MARSHEAUX which is pop perfection.
Like a post mid-life update of 1984’s ‘Louise’ for the new millennium, Philip Oakey says ‘Sky’ is about “meeting dead girls in bars”. Suitably sombre and monotone synthpop for ‘The Vampire Diaries’ generation, ‘Sky’ is proof that Da League can still come up with great tunes. MARSHEAUX’s busy pulsing adds more fortified Italo elements without disrupting the original’s wonderful melancholy and livens the tempo.
Theo Hutchcraft and Adam Adamson’s HI-NRG ditty underwent many manifestations having been originally part of their previous band DAGGERS’ live set. The fastest paced song in the HURTS catalogue, MARSHEAUX’s version hypnotised with its frenetic dancefloor friendliness and sequencing. Again retaining all the best euphoric elements of the song, this remix simply sparkles with optimism.
Ever wondered how ERASURE would have sounded doing ‘Go West’? Here it is in this highly uplifting collaboration with Greek duo IN-VOX. The original was fairly guitar driven but MARSHEAUX’s remix, which incidentally was their first, added a distinct electronic sheen to make it a pop masterpiece. Much better than the cover versions which Andy and Vince were attempting at this point.
Available on the CD single ‘Will I Ever?’ via Sony Music Greece and Columbia Records Austria. Listen on YouTube http://youtu.be/YvkwXKlvZwk
KID MOXIE give a cynical snarl waxing lyrical about how society accepts the culturally mundane and mediocre. With a tedious evening led by COLDPLAY, SNOW PATROL and ELBOW for Children In Need warmly received by the masses, this just rings so true. Thankfully, MARSHEAUX’s interpretation of ‘Medium Pleasure’ is anything but mundane and mediocre, with rhythmical life enhancement through exposure to cool female fronted electro guaranteed.
Adding some light into the dark industrialists’s repertoire, this bleepy reworking emphasises MESH’s sometimes hidden knack for rousing and catchy electronic tunes. With some of the rockier tendencies stripped away, it becomes club friendly gothic pop that retains the all the dynamic tension and synth soloing of its parent recording. It’s almost like DEPECHE MODE go disco, complete with a lift from ‘It’s No Good’!
Available on the Greek CD edition of ‘We Collide’ via Undo Records.
Christened the ‘Greek Girls Are Not Easy’ mix, Sophie and Marianthi turned MIRRORS’ most accessible track into a sensational neo-robotic danceathon. The as-yet-unreleased extended version added even more sharp synth counterpoints to the majestic singalong with the whole package proving that classic Synth Britannia influences are nothing to be ashamed of.
Available on the Greek CD edition of ‘Lights & Offerings’ via Undo Records. Listen on YouTube https://youtu.be/77f812hkDBg
The original version was used as the theme for the UK’s Formula 1 coverage for a few years in the noughties and while it doesn’t have the instant resonance that FLEETWOOD MAC’s ‘The Chain’ has in its association with motorsport, it is certainly an energetically rousing anthem. At a less frantic pace, MARSHEAUX’s remix with its firm octave shift drive is a regular staple in their DJ sets and always well received by clubbers.
Technically, this is not a remix as it started life as a cover version of the ‘Architecture And Morality’ classic. However, a new vocal by Andy McCluskey was added and this delightfully rounded with the angelic melancholy of MARSHEAUX’s own sweet timbres. Given a modern discofied softsynth facelift, this pretty duet is a fine example of how yesterday’s tomorrow can successfully meet the present and the future.
Katy Perry kissed a girl and liked it, but behind all the shock tactics was some quality songs written by Cathy Dennis and in the case of ‘Hot ‘N’ Cold’, Swedish megapop producer Max Martin. Taking its cue from the PET SHOP BOYS remix of THE KILLERS’ ‘Read My Mind’, this superb reworking by MARSHEAUX can only be described as truly banging! When presented to Katy Perry’s management, they were none too pleased but the lady herself loved it and sanctioned its release.
Available exclusively as an iTunes download single via EMI Records Greece
MARSHEAUX went to the Eurovision Song Contest with their electro assisted radio mix of this saucy uptempo number. Sakis Rouvas, who could be considered Greece’s own Ricky Martin, came 3rd in proceedings and went to No1 in his home country. While ‘Shake It’ is not exactly a work of genius, it is good fun and did considerably better than the UK’s entry which came 16th.
Available on the CD Single ‘Shake It’ via EMI Records
SALLY SHAPIRO is the Queen of Scandinavian electropop and has won many admirers. With her wispy vocal and discotheque tendencies, she shares a musical affinity with MARSHEAUX. Interestingly though, the original of this was more of a pretty crystalline ballad. So MARSHEAUX added a 2010 percussive backbone to give it disco potential and thereby construct an uplifting anthem in time for the new decade.
Greco Jordanian Tareq Souleiman was previously the lead singer of TECH SOIR and his vocal timbres make him electro’s answer to INXS’ Michael Hutchence as his cover of ‘Need You Tonight’ indeed shows. ‘Mosquito’ with its relaxed but pacey drum ‘n’ pop was the superb highlight from his first solo album ‘Cocoon’. Here though, MARSHEAUX take the pace down to a slower off-beat groove for an even greater chilled mood with Marianthi’s soft vocals, symphonic strings and KRAFTWERK’s Vako Orchestron choirs from ‘Radio-Activity’ added to the mix.
Dream laden electro from Copenhagen, TIGER BABY are another act who could be mistaken for MARSHEAUX with that synthpop vibe combined with sweetly gorgeous vocals from Pernille Pang. Stylistically, this has all the impressive hallmarks of the MARSHEAUX sound combined with the unmistakeable melodic sensibility that Scandinavian pop acts seem to naturally possess.
Available on the CD single ‘Girlfriend’ via Gunhero Records Denmark
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/
George Geranios is the co-founder of Undo Records.
Based in the offices of EMI in Athens, Undo not only have MARSHEAUX, MIKRO, NIKONN, ROCKETS IN A COMA and KID MOXIE on their roster but have also issued albums by CLIENT and MESH for their domestic market. They also recently announced they will be releasing the new OMD album ‘History Of Modern’ in Greece.
George’s love of music has resulted in one of the largest music collections that ELECTRICITYCLUB.CO.UK has ever seen. We thought we had a large music collection until we clasped eyes on this wonderful archive!
Occupying two rooms from top to bottom on three and a half walls each, you will find all manner of vinyl, cassettes, videos, CDs, magazines, books, promos, boxed sets and DVDs. ELECTRICITYCLUB.CO.UK talked to George about this lifeblood which fuels Undo Records and his many other musical interests.
Can you remember the first records you bought with your own money?
The first record was the Greek 12 inch of ‘Parlez-Vous Francais’ by BACCARA in 1978. The same weekend I bought ‘Radio-Activity’ by KRAFTWERK and then the week after, I bought SPARKS’ ‘Kimono My House’.
That’s funny because MARSHEAUX look a bit like BACCARA in the 21st Century!
Yes indeed! I wish they would have the success that BACCARA had in Europe!
How many records and CDs do you think you have in your collection now?
15000 vinyls and about 10000 CDs. The problem now is that I am running out of space!
Your music collection is very international and a lot of your favourite acts are British. How did you acquire your imported items in those pre-internet days?
I had a few pen-friends and I sent them what was new in Greece and people sent me things from Japan, England, France and Germany so I became informed about what was happening. I also used to buy music from Adrian’s Records and Esprit.
Is it true you used to come to England with an empty suitcase and go to Adrian’s to fill it up?
Yes it’s true. Me and a friend of mine used to visit London a lot, sleeping on the Heathrow couches instead of a hotel, so that we could save up money for records. We’d spend hundreds of hours in Adrian’s and Kensington High Street Market in Camden. Wonderful times!
Your collection is like a history of electronic and New Wave music. Which bands are your absolute favourites, the bands where you HAVE to buy everything?
I’m a completist of DEPECHE MODE, OMD, ERASURE and PALE FOUNTAINS. From the new artists, I collect GOLDFRAPP and HOT CHIP among others.
I understand you have one of the largest DEPECHE MODE collections in the world. Can you tell me a little as to how important this band has been to your life?
DEPECHE MODE were my biggest heroes of all. I grew up with them. They are connected with my life as for example I was listening to Depeche with my first girlfriend. We used to spend hours listening to ‘Speak and Spell’ and ‘A Broken Frame’. They played with synths, but they never sounded cheap. They always had a unique quality that touched my heart in a magic way!
And what is the most valuable DEPECHE MODE item in your collection?
The most valuable DM item I own is the 10 inch acetate of ‘Behind The Wheel’ with the DJ mix.
Is there anything you would like to have, but haven’t so far due to either cost or rarity?
I would love to have the four vinyl acetates for the DEPECHE MODE B-Sides box set, and the ‘Music For The Masses’ LP with the withdrawn cover. These are the only DM items I really want and I believe that I am complete until another buried treasure comes out.
What’s the craziest thing you’ve ever done in pursuit of your love of music?
When I was 15, I lied to my mum that I was going on vacation with friends to a Greek island… I actually went to Paris to see CHINA CRISIS and SIMPLE MINDS!!! But I arrived one day too late so I missed the concert *laughs*
I still have the poster! I hitchhiked from the biggest port in Athens and asked truck drivers if any of them were going to Paris. And when I tried to come back, I ran out of money… I got back after six days! I told my mum the story one year later.
With such a large music collection, it was probably inevitable that you would work in the music industry. How did you come to set up Undo Records with Nick Bitzenis of MIKRO?
Undo was Nick’s idea because in 2002 or 2003, MIKRO gave a song to be used by a big telecommunications company in Greece and the deal was very lucrative. But MIKRO’s then record company Warners took 90% of the money, so Nick suggested setting up a label to have more freedom to do things.
The name was also Nick’s idea, we wrote things down and ‘Undo’ looked better. The other name we considered was ‘Gaga’… this was before LADY GAGA! So we used the Gaga name for our video operation to produce films for other artists. And ‘Undo’ stands for…’UNITED DONKEYS’! *laughs*
Were things like the artwork and presentation inspired by labels such as Factory or Mute?
It was Factory, Mute and ZTT. We always liked Tony Wilson’s and Daniel Miller’s philosophy about the music and the freedom the artists can have. This is important, we want our artists to be happy people… if someone wants to leave Undo, they are free to go. So far, nobody has left Undo.
How do you feel about download culture?
When we release an album, at the same time we put high quality 320kps MP3s on the internet, because our philosophy is that it’s better if you have 100000 people download your album for free than 2000 people buying it. This way, more people will know about you and come to see you play live, more people know about your music.
Today I saw at HMV, they have a big vinyl section again. Vinyl is a totally different culture, you own it, you’re more involved. You have the artwork on the outside and you can check the lyrics in 12 inch x 12 inch. It’s different from CDs. But at HMV, the record companies have put a lot of CDs at £3, £4, £6… and these are for releases less than six months old. This is what should have happened 10 years ago. Not now, now its too late! You can’t sell your product that costs you £2 at the most, for £12!
Do you think there is now less of an emotional attachment to music when it’s just an invisible file on your computer or iPod?
We are not against downloading, it is a fact and we must live with it! We all have to find out what is the next step as to how to sell your music to people. Me and Nick have thought about giving physical CDs at our live concerts for free. We had this idea with MIKRO three years ago, but we had no idea then where things were going.
Now we are more aware of what is going to follow. You must give to people some extras with their purchase, something collectable that they can’t find nowhere else. That’s why bands are releasing big boxes; DEPECHE MODE released one for ‘Sounds Of The Universe’ for £70, RECOIL released a box that was £100, OMD’s is £50. But I don’t know if this is good for the fans.
Fans like to buy different things or packages with extras, but if you do it continuously, like for example BJORK who had the worst philosophy… all these DVDs released on the same day. It is a disaster if you are a BJORK completist. You have to spend a fortune to buy BJORK things! *laughs*
Saying that, I did spend 1500 Euros to buy all the DEPECHE MODE live CDs from the previous tour!!
How do you feel about modern remastering techniques?
For example, the new remaster of SPANDAU BALLET’s ‘Journeys to Glory’ is crap! But if you listen to it on headphones, you will not be able to understand it is bad! It has been remastered for computer! If you play the CD on Hi-Fi, it sounds horrible!
Who are the artists you are listening at the moment, is there anyone who you rate highly?
VILLA NAH was a big surprise for me; ‘Origin’ is a really good electropop album with references to classic bands we like, the production is superb. I like MIRRORS a lot, TAREQ who we will release on Undo, YEASAYER, REX THE DOG, MARINA & THE DIAMONDS.
And finally, what are your upcoming plans for UNDO Records? I understand you are releasing the new OMD album.
We are amending the OMD artwork and packaging for Greece. It will be different to the UK standard and limited CD. Also there will be a CD with extras and unreleased material on the Undo version. We have a new album from TAREQ, we all at Undo believe that he will make it. He’s a star!! Then FOTONOVELA and HOMETAPING. I hope MARSHEAUX will have an album ready in 2011.
ELECTRICITYCLUB.CO.UK gives its thanks to George Geranios
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