Tag: Martyn Ware (Page 1 of 8)

HEAVEN 17: The Sound With Vision Interview

31 March 2025 /

HEAVEN 17 are making a documentary and their audience will feature as its stars.

Celebrating 45 years of HEAVEN 17, this upcoming film will be directed by the BAFTA-nominated James Strong and go behind-the-scenes with Glenn Gregory and Martyn Ware on their ‘Sound With Vision’ tour while also interviewing fans from around the world.

Formed after the split of THE HUMAN LEAGUE Mk1 in 1980, Martyn Ware and Ian Craig Marsh recruited their friend Glenn Gregory to front a new pop project HEAVEN 17 named after a fictional band mentioned in the dystopian novel and film ‘A Clockwork Orange’. Their 1981 debut long player ‘Penthouse & Pavement’ gained much acclaim. After a few near Top40 misses with the singles ‘(We Don’t Need This) Fascist Groove Thang’, ‘Play To Win’ and ‘Let Me Go’, HEAVEN 17 finally had two Top5 hits ‘Temptation’ and ‘Come Live With Me’ in 1983.

Despite this success and with the parent album ‘The Luxury Gap’ certified platinum, HEAVEN 17 remained a studio only concern. The following albums ‘How Men Are’, ‘Pleasure One’ and ‘Teddy Bear, Duke & Psycho’ were unable to replicate their sales impact. However after a hiatus of several years, Messrs Gregory, Marsh and Ware released a comeback album ‘Bigger Than America’ and sprang an even bigger surprise by opening for ERASURE on their ‘Cowboy’ UK arena tour in 1997.

Beginning a new phase, there  was even a live album ‘How Live Is’ but following the album ‘Before/After’ in 2005, Marsh bid farewell leaving  Gregory and Ware to develop HEAVEN 17 as a performing entity over the past 25 years with engaging shows that have brought the remaining duo closer to their loyal followers.

In his eighth interview with ELECTRICITYCLUB.CO.UK, Martyn Ware chatted about the concept of ‘Sound With Vision’ and the ever changing notion of fandom.

What is the idea behind this ‘Sound With Vision’ tour?

Essentially, a friend of ours James Strong runs a production company called Strong Pictures and is also a successful writer/director/producer who has won Emmys, he did ‘Mr Bates vs. The Post Office’, and ‘Broadchurch’, he worked with Glenn who did the soundtracks for his series ‘Liar’ and ‘Vigil’ with Berenice Scott.

He saw us perform at Shepherd’s Bush Empire and was struck by the unusual connection between the stage and the audience and between Glenn, myself and the band. It’s a warm experience, you’ve been, you’ve seen it, we make an effort to communicate and empathise that a lot of this audience are coming out as a relief from the existential nightmare that we’re all in, to understand that people want you to break that fourth wall. It gives them the sense that every gig they come to is a unique experience.

So James has seen us play loads but he was struck by how it had grown over time and how we have got loads of diehard fans… it is really nice to come onto stage and see lots of people who you are familiar with because it gives you a sense of confidence, it’s like having a home crowd at a football game.

In the background, James and Glenn had been mulling over the idea of doing some kind of documentary film about HEAVEN 17. For ages we thought it was a good idea but to be honest, does the world need another documentary backstage with the band and the great and good, lots of concert footage and a few jeopardy moments?

Then Glenn rang me with an idea… why don’t we make the hook of the next tour about a documentary celebrating that connection with the audience and our fans.  When we were doing VIP meet ‘n’ greets before the shows on the last tour, there were all these people who came up to us going “I’ve been to see you 30 times” and  we didn’t know who these people were, we didn’t recognise them from the audience or anything. We knew there were an obsessive hardcore following us like a football team, but this was new revelation for us and much more widespread than we thought.

We started thinking about our friends in this 80s and electronic scene, how there is a kind of zeitgeist at the moment for people of a certain age and their offspring who have no interest as to “when” the music was made. We started moving into a situation where 10-20% of the audience are new. So we thought we’d celebrate this by making a documentary that is as much about the fans as it is about the band, a little bit like Louis Theroux… so whatever, even if you are looking at it from the outside wondering what the hell is going on, it’s still going to be entertaining.

So how will your fans take part in the documentary, will there be a filming booth at each show which people can queue up for to volunteer their comments?

 We haven’t figured that out yet, but that’s one way of looking at it. I think it will be quite nice to see them in their homes…

SPARKS did that for an MTV featurette…

Anyone who has an interest will get on it, we want as many people from as many different countries. Like there’s an 80s nostalgia thing going on in America… incidentally next year, we are doing an 80s cruise with Gary Numan in the Caribbean.

Photo by Richard Price

I was wondering if this fan relationship is a relatively recent phenomenon because of social media but also because HEAVEN 17 didn’t tour back in the day, so you were sort of detached from your fanbase until the 1997 ERASURE tour which even then, it is likely people were almost treating you as a new act?

That’s absolutely quite perceptive of you may I say Chi; I think it’s true and we weren’t confident that it wasn’t just a bunch of weirdos out there… one fan Sumo who has been to 250 shows now, when I first met him, he brought this scrapbook and rather than keeping it as a memento, he gave it to me… this was like a different level of fandom that I wasn’t particular familiar with. I mean, I’ve never seen an act more than a dozen times at most.

But it was something we always wanted to happen, we always liked to build some kind of artistic conceit, a cinematic universe if you will, where everything is connected artistically and there is a deeper meaning to most of the stuff we do. The thought that there were people out there then (it’s all weird kind of time travel stuff this!), the fact that we only started performing live in 1997, so this is 28 years ago! This was 17 years after we formed ironically, so we have had an unusual career in that respect. So people didn’t get a chance to thank us I suppose.

One thing I noticed researching old CDs and all that, HEAVEN 17 were one of the first acts to have an email contact address in the booklet, so how did people respond to you?

We’ve always tried to allow contact, we’re in a fortunate position where we are not Taylor Swift and don’t get half a million emails! There’s a definite intention from both Glenn and myself , and Ian when he was in the band, that we wanted to be an open as possible with the fans and have as much contact. In fact, it was even more important when we didn’t perform live so we had the HEAVEN 17 Plan fan club which Lindsay, Glenn’s wife used to run.

We’ve tried to encourage as much contact as possible with the fans. But it was a bit of a dichotomy because we liked the idea of people on videos, you’re almost like an actor and a fantasy thing, then one day Robert De Niro says “you can email me if you want”… of course, I’m exaggerating it to make a point but you know what I mean?

An interesting flip of this contact, and this is something Neil Arthur of BLANCMANGE said to me, is that you are more accessible so people start approaching you about weird stuff, telling you their record is scratched and asking what you’re going to do about it… how have you dealt with the more intrusive side of being more open to your fanbase on social media?

 I have to say it’s only a tiny amount, maybe 5% or less. But if we have a tour or a record coming, the most common annoying things are messages like “what time are you coming onstage?”, I sometimes respond and sometimes I don’t.

Then there’s people having issues with Ticketmaster or the venues themselves. But because I’m a point of contact and Glenn is in the background not having to deal with it, if something goes wrong and there’s a mistake in the publicity, Muggins here has to deal with it, they don’t contact the venue or the promoter… so I’ve had to back off on all that stuff. But it’s a rare thing.

Another thing about this approachability on social media, it means the artist has to regularly do postings but now there’s this trend for reels… CHINA CRISIS used to be quite mousey and quiet on socials but have taken to these filmed promo reels quite well but poor TEARS FOR FEARS look like they’re in one of those hostage videos! How do you feel about doing this kind of shortform in-person publicity?

We have PR for this ‘Sound With Vision’ tour which the promoter is paying for, they’re doing it properly and have got us on TV. This is no small thing getting on BBC1 at peak time but I have to say their research is sh*t because it’s always “WHAT AN AMAZING COMEBACK” when we we’ve been doing it for more than 27 years! But the great thing is they go “Oooh! ‘Temptation’”, “Ooooh ‘(We Don’t Need This) Fascist Groove Thang’, you should put that out again”, like that’s an original thought, I don’t get one of those emails every day! *laughs*

We do make an effort, it’s building and building ad building until hopefully this tour will sell out, it takes a long time this to do that stuff.  But I do think it’s good to be out of the public eye for a while so that you don’t bore people to death, so my view is to keep it until when you need it.

I know what you mean about researchers who are getting younger, did not grow up with this music and not getting things right… but do you make allowances for this?

No, I’m very unforgiving, I think it’s easier to research than ever before, I think it’s laziness… it’s not the game it used to be, I was talking to someone the other day that the notion of journalism is going to sh*t basically!

Yes I agree, but I suppose a young BBC intern isn’t going to know who HEAVEN 17 are, but what annoys me much more are these so-called electronic music media outlets who see it as their specialism but don’t have a clue or do the research…

Well, they can’t all be you Chi but I’m harsher on the BBC and the major radio stations who literally can’t be arsed!

HEAVEN 17 have done the VIP package thing and everyone does that now, but the notion of it has been flipped by Ticketmaster who have been selling tickets as “VIP” which get nothing more than a lanyard, a poster and a bar nearer the seat… I know of people who bought these packages who really did think they were going to meet Bruce Springsteen and Taylor Swift… so this rise in concert elitism through VIP, what do you think?

Well, we thought about the VIP thing for a while before we started doing it but we regard it as a valuable tool to help support the costs of the tour. Fundamentally, there’s me and Glenn, then everybody else on the stage, all the staff, the drivers, front of house engineer and lighting etc all have to be paid. We only get paid at the end on the bottom line after. Fortunately the last few tours have done really well. But when we did the tours with the full band in 2010-2013, we looked at the figures after the tours, me and Glenn made zero money, we barely broke even. We were mugs for quite a while and I know we are not stupid business wise, but things are expensive and things have got more expensive now.

We were approached to tour America a long time ago and asked our manager to do an illustration of what it would earn us and it was like peanuts, but everyone else would have got paid. So that went back and forth every 3-4 years, the offer went up a little bit more each time and eventually we did it. When we got there, it ended up being more expensive than what our management had projected and we ended up losing money. Then we were asked again so we started asking ABC, THOMPSON TWINS, OMD and almost to a man, they said “Oh, we’re not doing it for the money, we’re doing it because we want to do it!” but me and Glenn aren’t really in that situation, we’re not poverty stricken but…

The whole live thing is getting more polarised all the time, we did the support for CULTURE CLUB with Tony Hadley on a UK arena tour last year, we had a great time, the O2 was sold out at £100 a ticket or more. Very nicely, the promoters SJM gave us a nice bonus at the end which wasn’t part of the contract, so they must have made an absolute killing! But in the mid-range, there’s not much killing going on and at the bottom, it’s almost like pay-to-play a lot of the time.

I don’t think fans really understand the economics and this is one thing that really p*sses me off about social media, we announce a big tour and put an effort into it and you just get a load of people going “why aren’t you coming to Stourbridge?” or “why aren’t you going to Skegness?”. We go where the promoters tell us to go, the tours are designed by them, not us! So the routines, the places available of a particular size that are hard to find now these days and the areas of the country that are covered are determined by the promoters, NOT by the band!

Of course, if you are a huge band, you can go “I don’t want to play in Tucson, I don’t want to play in Springfield”, you have more power to determine that but as a mid-range act, it’s difficult… it’s a point some people don’t get.

What do you hope the ‘Sound With Vision’ tour and documentary will achieve for you ultimately?

Firstly I think it’s an interesting idea and I can’t recollect anybody else doing it, the closest was probably the SPARKS one which was a little bit of an inspiration although that was still super focussed on the band. I really liked the KING CRIMSON one, that made me laugh a lot. The premise that the band is this all powerful entity that must be worshipped is the exact opposite of how we feel about the world. If people come to the gigs, there will be a good chance people will get filmed if they want to get filmed and there will be specific people that we talk to who we will visit in their world.

It will hopefully be a feature length documentary that will be shown on Sky Arts or Netflix or whatever, who knows? It’s really about fandom, that’s the larger issue. Boomers I suppose, are the fans of that kind of 80s music largely all over the world and a lot of people think it’s the happiest time they’ve ever had, not just because they were young but because it was an extraordinary decade in music. So that audience has grown older, a lot of them have got a bit more affluent and they want to relive their youth, which is perfectly reasonable and I suppose we are in a certain respect. But they don’t want it to be patronising and feel like a nostalgia trip, they want to feel like they are living in the present when they experience that stuff.

So this is a new phenomenon, it’s not just us. It’s all the 80s acts that we love who I’m sure have similar fanbases. The rise of this kind of VIP thing is important element to it as well because when I was growing up and seeing loads of gigs, I was an obsessive music fan and the thought back then that you could actually meet these demi-gods who were on stage would have been amazing!

Were there any artists you would have paid VIP for had it been available?

Oh yeah! Bowie and Roxy, but you were never going to get to people of that ilk! There are people who take that properly seriously, Thomas Dolby, Martin Fry and Howard Jones for example and it helps support the band, it’s money going into the general tour pot. The mid-range of tours are not making a lot of money but it does provide employment and gives enjoyment for a lot of people. It’s only when you get to the £100 ticket level and beyond that serious money is made.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Martyn Ware

HEAVEN 17 ‘Sound With Vision’ tour includes:

London O2 Shepherds Bush Empire (6th November), Bexhill De La Warr Pavilion (7th November), Norwich Waterfront (8th November), Oxford O2 Academy 1 (10th November), Leeds O2 Academy (12th November), Glasgow Barrowland (13th November), Sheffield Octagon (14th November), Liverpool O2 Academy 1 (15th November), Newcastle Boiler Shop (17th November), Birmingham O2 Institute 1 (19th November), Bristol O2 Academy 1 (20th November), Bournemouth O2 Academy (21st November), Manchester O2 Ritz (22nd November)

Tickets available via https://www.heaven17.com/

https://www.facebook.com/heaven17official/

https://www.instagram.com/heaven17official/

Text and Interview by Chi Ming Lai
31st March 2025

25 FAVOURITE INTERVIEWS ON ELECTRICITYCLUB.CO.UK

15 March 2025 /

Established on 15th March 2010, ELECTRICITYCLUB.CO.UK celebrates 15 years online.

Aiming to feature the best in new and classic electronic pop music, during that time it has conducted over 550 interviews from fledgling independent acts and veteran cult artists to established international stars.

ELECTRICITYCLUB.CO.UK prides itself in asking interesting questions that are a bit different and seeded by knowledge of the subject. As a result, these interviews have been appreciated by those music enthusiasts who know their tape recorders from their drum machines.

As for the interviewees, the vast majority have been a joy to work with and luckily, boring or difficult interviews have been rare. However, the most disappointing situations arise when someone agrees to an interview and continues communications for several weeks but doesn’t come clean to say they are not actually interested in participating… it is the interviewing equivalent of being ghosted 😆

Photo by Rob Harris

While sending questions via email for an artist to answer in their own time is the modern way of conducting an interview and is convenient with artists who have day jobs, don’t speak English as a first language or are in a different time zone, it is not particularly interactive and lacks a conversational flow. A true interview is a two way live conversation conducted face-to-face, by phone or a conferencing platform where opinions, thoughts and recollections can be obtained through reactive questioning.

ELECTRICITYCLUB.CO.UK lists its 25 favourite interviews from over the years. Reading like a ‘Who’s Who?’ of electronic pop, ELECTRICITYCLUB.CO.UK all the interviews were conducted in-person or via a live call, except those with Alan Wilder, Karl Bartos and Rob Dean which were done by email.

PAUL HUMPHREYS (2010)

This Paul Humphreys interview put ELECTRICITYCLUB.CO.UK on the map. At his studio complex in London, he chatted about the past, present and future of OMD, hinting at the contents of the upcoming album ‘History Of Modern’. The interview proved popular and was later quoted by The Guardian in a feature about OMD. This was the first of five interviews, the most recent of which was for OMD’s 40th Anniversary in 2019.

https://www.electricityclub.co.uk/interview-paul-humphreys/

SARAH BLACKWOOD (2010)

ELECTRICITYCLUB.CO.UK bumped into Sarah Blackwood after a HEAVEN 17 concert in Cologne and so began a long lasting friendship. Conducted at a café in St Pancras, this interview captured an interesting interregnum with our heroine between the end of CLIENT and the start of the DUBSTAR reunion. This was to be the first of two Sarah solo chats while she would be interviewed with Chris Wilkie twice as DUBSTAR.

https://www.electricityclub.co.uk/sarah-blackwood-interview/

CLAUDIA BRÜCKEN (2010)

Conducted in London to coincide with the reissue of her debut solo album ‘Love: And A Million Other Things’, Claudia Brücken talked about her time in PROPAGANDA, ACT and ONETWO while she also talked about plans for a compilation called ‘ComBined’ collecting highlights from throughout her career. Her most recent ELECTRICITYCLUB.CO.UK interview was together with Susanne Freytag as xPROPAGANDA.

https://www.electricityclub.co.uk/claudia-brucken-interview/

ANDY McCLUSKEY (2011)

The majority of interviews are cordial affairs but this one with Andy McCluskey following the release of OMD’s comeback album ‘History Of Modern’ was a bit ‘Frost/Nixon’. ELECTRICITYCLUB.CO.UK echoed some of the fan disappointments about the record and to his credit, he was unrepentant and batted away criticisms with aplomb. A less confrontational interview followed in 2013 for ‘English Electric’.

https://www.electricityclub.co.uk/andy-mccluskey-interview/

STEPHEN MORRIS (2011)

ELECTRICITYCLUB.CO.UK were surprised when a request to interview Stephen Morris was accepted, especially as NEW ORDER had seemingly disbanded. The conversion had The Human Drum Machine at his best with stories about JOY DIVISION as well. But why was this interview taking place, why was he doing a fashion shoot for ‘Arena Homme+’? It was all subtle profile rebuilding as NEW ORDER was relaunched months later!

https://www.electricityclub.co.uk/stephen-morris-interview/

BLANCMANGE (2011)

With many discussion points covered, a thoroughly entertaining hour was spent chatting to Neil Arthur in his studio during a break from rehearsals for the first BLANCMANGE live shows since 1986 in support of a new album ‘Blanc Burn’. The artist who has been interviewed the most times by ELECTRICITYCLUB.CO.UK, he has since been featured a further nine times including with his side projects FADER and NEAR FUTURE.

https://www.electricityclub.co.uk/blancmange-interview/

MIRRORS (2011)

The intelligent aesthetics of MIRRORS made them ideal for ELECTRICITYCLUB.CO.UK’s first interview using the Vintage Synth Trumps format. Conducted in the dressing room of Cologne’s Gebaude9 prior to the first show of their headlining German tour, James New and Ally Young chatted about the synths used on their ’Lights & Offerings’ album. But tension was evident between the pair and it ultimately led to the sad end of the band.

https://www.electricityclub.co.uk/vintage-synth-trumps-with-mirrors/

ALAN WILDER (2011)

While often reluctant to talk about DEPECHE MODE, when Alan Wilder auctioned off a large collection of his studio equipment, vinyl and memorabilia, he was ready to talk about the band he left in 1995 again as well his own musical venture RECOIL. For the 25th Anniversary of the release of the ‘101’ live album and documentary film in 2014 , ELECTRICITYCLUB.CO.UK was the only platform he granted an interview to.

https://www.electricityclub.co.uk/the-alan-wilder-interview/

HOWARD JONES (2011)

One of the nicest guys in the music business, ELECTRICITYCLUB.CO.UK had the pleasure of chatting to Howard Jones about his then-upcoming tour performing his first two albums ‘Human’s Lib’ and ‘Dream Into Action’. Focussing on the period between 1983 to 85 when he became a household name and was many people’s entry point into the world of synthpop, the interview included lots of analogue and digital synth talk.

https://www.electricityclub.co.uk/howard-jones/

KARL BARTOS (2013)

A short conversation conducted remotely, Karl Bartos talked about his new album ‘Off The Record’ and recalled his collaborations with Andy McCluskey, Bernard Sumner and Johnny Marr. When he performed at Cologne’s Live Music Hall on the same night that KRAFTWERK received a Lifetime Achievement Grammyin January 2014, ELECTRICITYCLUB.CO.UK were granted an audience with the man himself.

https://www.electricityclub.co.uk/a-short-conversation-with-karl-bartos/

ALISON MOYET (2013)

The album ‘the minutes’ saw the return of Alison Moyet to electronica and this inevitably led to reminiscences about YAZOO in this delightful and sweary interview conducted face-to-face in Islington. She was frank and open about all aspects of her career, the misconception of her being a “jazz singer” and which two songs from the YAZOO portfolio she particularly hated! Can you guess without look at the transcript which ones they are?

https://www.electricityclub.co.uk/alison-moyet-interview-2/

VILE ELECTRODES (2013)

VILE ELECTRODES remain the act that ELECTRICITYCLUB.CO.UK has been proudest of featuring. Invited to support OMD on the German leg of their ‘English Electric’ tour following Andy McCluskey spotting the band while perusing ELECTRICITYCLUB.CO.UK, this informative interview was conducted in Anais Neon and Martin Swan’s synth-filled apartment and completed online to update it after the news was announced.

https://www.electricityclub.co.uk/vile-electrodes-re-emerge/

GARY NUMAN (2013)

ELECTRICITYCLUB.CO.UK were literally given a few days notice that is was to interview Gary Numan at his home in Los Angeles by phone. Coinciding with the release of the ‘Splinter (Songs From A Broken Mind)’ album which had taken 7 years to complete, he was in buoyant mood after an artistic rejuvenation. Refreshingly honest, he admitted his original plan to make all the songs on ‘Splinter’ one-dimensional was “a sh*t idea”!

https://www.electricityclub.co.uk/gary-numan-discusses-splinter/

RODNEY CROMWELL (2016)

One of the fun things about the Vintage Synth Trumps series of interviews is that there is a degree of jeopardy for both interviewer and artist. Taking time to gain acclaim and recognition , the first Rodney Cromwell album ‘Age Of Anxiety’ was perfect for mainman Adam Cresswell to talk about his love of synths and DIY recording as well as the influence of NEW ORDER and SECTION 25 on his music over a fish supper in London’s Soho.

https://www.electricityclub.co.uk/vintage-synth-trumps-with-rodney-cromwell/

RICHARD BARBIERI (2017)

It was known that Richard Barbieri is often not that keen on talking about JAPAN and ELECTRICITYCLUB.CO.UK assumed all the chat over the phone would be about his new album ‘Planets + Persona’. But unprompted, he chatted about his MicroMoog which was used on a number of JAPAN albums. But the crowning glory of the interview was how he did the metallic intro of ‘Ghosts’ using his Roland System 700 Lab Series.

https://www.electricityclub.co.uk/richard-barbieri-interview/

ZEUS B HELD (2017)

While not as well-known as Giorgio Moroder or Conny Plank, producer Zeus B Held contacted ELECTRICITYCLUB.CO.UK after it did a Beginner’s Guide feature on his career portfolio. A coffee meeting was arranged at Foyles bookshop in London and morphed into a full interview which saw the talkative German reflect back on working with GINA X PERFORMANCE, FASHION and DEAD OR ALIVE as well as John Foxx and Gary Numan.

https://www.electricityclub.co.uk/zeus-b-held-interview/

ROBERT GÖRL (2017)

When in Düsseldorf… despite the confrontational aspects of DAF, their drummer and sequencer programmer Robert Görl is something of a thoughtful and spiritual soul. This face-to-face interview was conducted before a performance of his ‘Glücksritter’ live only project and took in DAF, his wonderful solo debut long player ‘Night Full Of Tension’, working with Annie Lennox and the great standalone single ‘Mit Dir’.

https://www.electricityclub.co.uk/robert-gorl-interview/

SOFT CELL (2018)

Marc Almond and Dave Ball surprised all with a reunion for ‘One Night Only’ at London’s O2 Arena that has since become an ongoing world tour. But with it came a lavish boxed set, various books and new albums. In a London pub,  ELECTRICITYCLUB.CO.UK had an in-depth chat with Dave Ball focussed on the ups and downs of SOFT CELL. This was followed up with an entertaining game of Vintage Synth Trumps in 2023.

https://www.electricityclub.co.uk/soft-cell-interview/

MARTYN WARE (2019)

ELECTRICITYCLUB.CO.UK has enjoyed seven interviews with Martyn Ware encompassing HEAVEN 17 and BEF, but this chat was about his time as a co-founder member of THE HUMAN LEAGUE to coincide with a live celebration of their first two albums ‘Reproduction’ and ‘Travelogue’. This was a fascinating insight into how THE HUMAN LEAGUE’s “vocals and synthesizers only” sound became the future of pop music.

https://www.electricityclub.co.uk/martyn-ware-the-reproduction-travelogue-interview/

ROB DEAN (2021)

Although he left JAPAN in 1980, guitarist Rob Dean gave an eye witness account to ELECTRICITYCLUB.CO.UK into the making of their third album ‘Quiet Life’ to coincide with a remastered boxset. JAPAN were in a state of transition from the growly glam funk of their first records to the mannered artful combo people remember them for today, so with him now residing in Costa Rica, this email Q&A provided some insightful commentary.

https://www.electricityclub.co.uk/rob-dean-the-quiet-life-interview/

MARK REEDER (2021)

While most of ELECTRICITYCLUB.CO.UK’s interviews with Our Man In Berlin have been conducted remotely at his convenience, apart from an onstage interview at a 2016 event in Düsseldorf, this Vintage Synth Trumps chat was a rare live outing on Skype. Among the topics were his remixes for NEW ORDER and YELLO while there was also mention of the Transcendent 2000 which Bernard Sumner had built from a kit and given to him.

https://www.electricityclub.co.uk/vintage-synth-trumps-with-mark-reeder/

BILLY CURRIE (2022)

With his noted dry humour, Billy Currie was on top form for probably the best interview in the Vintage Synth Trumps series so far. With insight into the workings of ULTRAVOX and VISAGE as well solo work and his brief time in the Gary Numan live band. Of the latter, Currie went into detail about the ARP Odyssey solo on ‘On Broadway’ while also shedding light on how ‘Touch & Go’ co-written with former band mate John Foxx became ‘Mr X’.

https://www.electricityclub.co.uk/vintage-synth-trumps-with-billy-currie/

TELEX (2023)

Some say that the Belgians don’t have a sense of humour, but that was proved wrong when surviving TELEX members Michel Moers and Dan Lacksman gave a laugh a minute interview to ELECTRICITYCLUB.CO.UK in support of their self-titled boxed set released by Mute Records. The most hilarious moment was when the pair recalled their dismay when Portugal awarded them 10 points at the Eurovision Song Contest in 1980.

https://www.electricityclub.co.uk/telex-interview/

MIDGE URE (2023)

ELECTRICITYCLUB.CO.UK has had the honour of interviewing Midge Ure on a number of occasions, the first time at the world famous Abbey Road Studios. But the most recent occasion was the best where he discussed a life in music ahead of his 70th birthday and a special show at the Royal Albert Hall. This was an extensive chat which included music technology such as the PPG Wave and the Roland GR700 guitar synthesizer.

https://www.electricityclub.co.uk/midge-ure-a-life-in-music/

JOHN FOXX (2024)

With ‘Metamatic’ about to celebrate its 45th Anniversary, it was a perfect time for ELECTRICITYCLUB.CO.UK to chat to John Foxx about his close encounters with synthesizers over a game of Vintage Synth Trumps in Düsseldorf, the spiritual home of modern electronic pop. As well as talking about his seminal debut solo album, he recalled how ULTRAVOX came to utilise synths and drum machines in their music.

https://www.electricityclub.co.uk/vintage-synth-trumps-with-john-foxx/

ELECTRICITYCLUB.CO.UK’s interviews can be viewed at https://www.electricityclub.co.uk/interviews/

Interviews from the Vintage Synth Trumps series are collected at https://www.electricityclub.co.uk/v-s-t/

Text by Chi Ming Lai
15th March 2025

2024 END OF YEAR REVIEW

27 December 2024 /

Image by Simon Helm

Me? Definitely Won’t Be! Join the #SynthResistance

When ELECTRICITYCLUB.CO.UK came into being in March 2010, synth was still on a recovery path and it seemed PET SHOP BOYS were the only act continuing to fly the flag successfully having been awarded the BRIT Award for ‘Outstanding Contribution To Music’ the previous year.

While DEPECHE MODE and SIMPLE MINDS had released albums in 2009, their latest material showed few signs of their imperial phases. BLANCMANGE, NEW ORDER and SOFT CELL had not yet returned, ULTRAVOX were still to release ‘Brilliant’ despite a well-received live return and while THE HUMAN LEAGUE were regulars on the live circuit, they had not issued a new album for 9 years. Meanwhile OMD and DURAN DURAN were in a state of creative flux having released disappointing albums in ‘History Of Modern’ and ‘Red Carpet Massacre’ respectively.

However in 2024, most of these acts are performing to sizeable audiences and while ULTRAVOX may have called it a day in 2013, Midge Ure continues to tour with songs from ‘Vienna’, ‘Rage In Eden’, ‘Quartet’ and ‘Lament’. For these heritage acts, the concert circuit is now very lucrative and a testament to their music still standing up after several decades and most importantly for longevity, appealing to new and younger audiences.

Photo by Chi Ming Lai

But for new synth music generally, particularly in Britain, it appeared to be in decline although these signs had been very apparent over the past few years. One thing that has been significant about ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2024 was that on only 4 occasions was there full or part representation from the nation that seeded Synth Britannia… how the mighty have fallen! And when Taylor Swift is doing better electronic pop songs than most, then there’s a real problem!

First time around during 1994 to 1997, Britpop had as good as killed off the synth and with the news of the OASIS live reunion in 2025 grabbing all the headlines, it looks as though history is repeating itself. But everything is cyclical and there was a backlash against guitar bands after the new millennium began. There is hope yet but while a MIRRORS reunion is unlikely any time soon, it takes darkness to appreciate the light so anything is possible 😉

2024 was a year fraught with uncertainty and this was reflected musically. With ongoing political tensions in their homeland and having spoken out against the invasion of Ukraine by Russia, MOLCHAT DOMA relocated from Belarus to Los Angeles. Their excellent fourth album ‘Belaya Polosa’ channelled the anxiety and fear of that journey into exile and literally saw the trio change from sounding like JOY DIVISION to sounding like NEW ORDER. But have they walked from the frying pan into the fryer?

Released back in March before the US Elections, one of the best albums of 2024, ‘Masochist’ by NIGHT CLUB became a dystopian prophecy come true. Emotions were summed up by the inclusion of ‘The Lunatics (Have Taken Over the Asylum)’, a cover of the song by FUN BOY THREE. Written as a metaphor to the dangerous posturing games played by “The Cowboy” Ronald Reagan in 1981 during The Cold War, today the even crazier orange face is back followed by his flock of mindless MAGA sheep…

‘If You Tolerate This, Then Your Children Will Be Next’ sang MANIC STREET PREACHERS and more than ever in the UK, it is important to stand against the retarded racist scum getting behind the neo-fascist posturings of that pompous grifter Nigel Farage to cover up for their own life failings. Add in a crackpot billionaire who inherited blood money made during the vile South African Apartheid regime, playing a real life Dr Evil by throwing his cash into the far right and supporting the new Nazis in Germany of the AfD, and the world is in a very precarious position right now. Quoting Midge Ure who recently gave new live renditions of the ironically monikered RICH KIDS’ sadly relevant 1978 anti-Nazi anthem: “NEVER AGAIN DO I WANT TO HEAR THE SOUND OF MARCHING MEN!”

Anglo-German duo KALEIDA experienced an existential crisis due to the pressures of parenting and the shifting patterns of life. But Christina Wood and Cicely Goulder managed to make their long distance creative partnership work again and their reward was their third album ‘In Arms’. As the title suggested, it has been an impassioned battle capturing 3 years of artistic perseverance and reinforced their sense of purpose.

On a more personal level, Anglo-French artist Julia-Sophie delved deeper into the complexities of relationships by exploring themes of self-destruction, tenderness, love and emotional struggles. This is what happens when people ‘forgive too slow’ but swathed in an intriguing electronic sound, her understated fulfilment combined emotional unease with an airy beauty for some satisfying thoughtful listening for another of the best albums of 2024.

Photo by Chi Ming Lai

With the onset of climate change but still those in denial despite the scientific proof, Patricia Wolf conceived ‘The Secret Lives of Birds’. Having recorded various bird songs and calls, curiosity led her to become a conservationist and while her music was very beautiful at times, there were darker moments of angst and sadness driven by concern. Birds and their behaviour have been a creative haven for artists of a more ambient persuasion and Masayoshi Fujita continued his avian fascination on his new work ‘Migratory’.

Loula Yorke presented her new ‘Volta’ and the wonderful opener ‘It’s been decided that if you lay down no-one will die’ acted as a bittersweet meditation on overwhelm, an emotion many were feeling. For Finlay Shakespeare, his creative journey appeared to have taken its emotional toll and ‘Directions Out Of Town’ reflected turbulent times and was touted as possibly his last album. Meanwhile Polish producer ZAMILSKA summed feelings up with the impassioned ‘United Kingdom Of Anxiety’ as another exile from Belarus CHIKISS captured this moment ‘Between Time & Laziness’.

Photo by Thomas Stelzmann

While a new PET SHOP BOYS album was always on the cards and they duly delivered with their fifteenth ‘Nonetheless’, Michael Mertens and Ralf Dörper starting a new chapter of PROPAGANDA was perhaps on not on anyone’s bingo card at the start of 2024. Featuring the sultry vocals of Thunder Bae, PROPAGANDA presented an eponymous long player to signify a fresh start with the closing cover ‘Wenn Ich Mir Was Wünschen Dürfte’ being a key highlight.

There were several key esoteric releases in 2024; Gareth Jones and Daniel Miller released their third volume of ‘Electronic Music Improvisations’ as SUNROOF while Heiko Maile and Julian DeMarre offered ‘Neostalgia’, leaving Jori Hulkkonen with some ‘Hurt Humour’. And like a greeting from wherever he is now in the universe, Klaus Schulze had ‘101, Milky Way’ posthumously released in a continuation of his vast electronic legacy.

In 2024, there were albums released where 90 to 100% of the content comprised of previously released singles; one of those was the debut album by LEATHERS, the side-project of ACTORS keyboardist Shannon Hemmett which explored her love of dark electronic pop. Another was the appropriately titled ‘VII’ by Swedish duo KITE which was their seventh body of work containing music from their seven most recent singles released over the past seven years, gathering the power and the glory of their ambition.

Using a similar strategy,  R. MISSING finally released an album ‘Knife Shook Your Hand’ after years of embracing a scattergun standalone song approach which at times was frustrating to follow, especially with today’s now widely embraced Netflix-led home and mobile entertainment methodology of “binge watching” TV series.

Photo by Volker Maass

CAMOUFLAGE finally took their ‘Rewind To The Future & Goodbye’ tour on the German road with a show look backing on four decades. Meanwhile celebrating 45 years of BLANCMANGE, ‘Everything Is Connected’ was a new career-spanning collection supported by a tour where Neil Arthur supported himself with his collaborative side project THE REMAINDER. Celebrating 25 years of the multi-million selling ‘Play’, Moby delivered a mighty greatest hits set in front of a packed house at London’s O2 Arena as well as highlights from that album.

Midge Ure aired his catalogue of his greatest hits and with so many ULTRAVOX songs part of the set, it was difficult not to think of his departed bandmate Chris Cross who passed away this year. Another sad loss in 2024 who had connections to ULTRAVOX and their former leader John Foxx was the iconic photographer Brian Griffin; his other subjects included DEPECHE MODE, OMD, SPANDAU BALLET and TALK TALK.

With 16 tracks speeding through its restless 40 minutes, ‘Powder Dry’ saw Tim Bowness revisiting his passion for the post-punk and electronic pop acts of his teens, having opened for the solo Billy Currie version of ULTRAVOX and worked with members of JAPAN while in his first band NO-MAN with Steven Wilson; of course the latter has been behind the spate of new remixes of ULTRAVOX for their series of lavish boxed sets.

A number of veterans returned after long new release absences. Michel Moers, best known as the front man of Belgian electronic trailblazers TELEX released what was only his second solo studio album ‘As Is’ and had Claudia Brücken guest on its lead single ‘Microwaves. Meanwhile after several years in the making, Harald Grosskopf presented ‘Strom’, translated from German as “electricity”.

Across the Atlantic, Los Angeles-based multimedia artist Geneva Jacuzzi gave a detached Eurocentric poise reminiscent of Gina X and her third album ‘Triple Fire’ was an enjoyably delightful mix of accessible electronic pop and energetic art chaos. Comprising of North America’s alternative music power couple Tom Shear and Mari Kattman, HELIX took their fans to an ‘Unimaginable Place’ as another US based couple XENO & OAKLANDER further refined their precise yet spirited productions for their eight album ‘Via Negativa (in the doorway light)’.

Newer North American acts making a splash were IMMORTAL GIRLFRIEND and Canada’s MINDREADER while Los Angeles-based duo DIE SEXUAL finally brought their erotic charge to the stage opening for the likes of IAMX and LEÆTHER STRIP. But the most promising act emerging stateside were Haute & Freddy.

Photo by Tim Darin

For the past few years, Alison Lewis has focussed on her ZANIAS solo venture but she was back playing live with Ryan Ambridge as LINEA ASPERA in the summer with the pair having been quietly writing and recording new material together. Having found TikTok fame performing synthwave styled covers, DREAMKID released his second album ‘Daggers’ to capitalise on his social media traction while both exploring much darker climes, CURSES and CZARINA released their third full length albums.

In Europe, Belgian duo METROLAND released their sixth album ‘Forum’ as well as simultaneously maintaining their solo projects 808 DOT POP and LECTREAU. In Sweden, Johan Agebjörn was a very busy man releasing EPs with Yota and Mikael Ögren while also announcing he has a work-in-progress with NINA; the Queen of Synthwave’s own musical partnership with RADIO WOLF was developing nicely, with a European tour opening for CANNONS giving the couple a chance to showcase their darker sound.

As the summer ended, IONNALEE ambitiously issued her new album simultaneously in English and Swedish while Norwegian neighbours PISTON DAMP declared there were “No Points For Trying” as they launched the more pessimistic instalment of their twin volume ‘Mastermind’ album venture.

Photo by Joanna Wzorek

Presenting the second volume of their ‘Midnight Confessions’ series, ITALOCONNECTION were back with their vintage but modern style of Italo disco while Greco-German trio DINA SUMMER showed that good electronic dance music with a grittier impassioned outlook was alive and well in Berlin. Also based in the former divided city, Polish DJ and producer CHARLIE emerged as one of the promising new stars on the Italo-Proto scene.

Retrospective sets can often compile another time, another place as exemplified by releases this year from Bryan Ferry, Peter Baumann and NO-MAN proved. But the best one came from FRANK CHICKENS whose ‘Ninja Legends 1983-1989’ captured them in their quirky prime, especially on the collection of BBC radio  sessions which made it an essential purchase. On the book front, ‘1984: The Year Pop Went Queer’ was among the best.

The desire to revisit the past became a major thing in 2024, as exemplified by the frenzy surrounding the sale of tickets for the OASIS reunion shows which were among the first in the UK to employ the dreaded but perfectly legal scam of dynamic pricing. But the need to see any band years past their commercial peak with the likelihood of a less accomplished performance than before, be it vocally, musically or energetically, was a head scratching prospect. The music world has been trying to make up for lost time and money since 2021 but the post-covid gig bubble may have now burst.

With ELECTRICITYCLUB.CO.UK having seen many bands back in the day at their best, the shows now available with a hint of nostalgia may not have been universally appealing as they were to those who were too young or not even born to have attended first time around. But paradoxically thanks to the dearth of new quality music, ELECTRICITYCLUB.CO.UK found itself listening to podcasts of old people talking about old music! So it was an honour to be invited by host Iain McDermott to chat about our favourite year in music 1981 for his wonderful ‘Back To NOW’ podcast centred around the noted compilation album series.

‘The Album Years’ hosted by Steven Wilson and Tim Bowness remarked that “talking about music IS the new music” and on the most knowledgeable, passionate and humorous podcasts, hosts were able to express their opinion and say a record or an artist was “sh*t” without immediate fear of social media retorts while also praising where praise was deserved!

But during a recent edition of ‘The Small Town Boys’, Clark Datchler of JOHNNY HATES JAZZ remarked that while music critics back in the day could be “cynical” and “nasty”, today they are at the other extreme and “sycophants now” with “hardly any criticism of records released” – this everything is brilliant mentality has undoubtedly led to an acceptance of mediocrity and a lack of perspective in a monoculture of medium pleasure.

With those forthright and articulate expressions key to their success, live presentations of these podcasts in theatres and arenas are becoming increasingly popular and profitable thanks to lower overheads, especially when compared to concerts.

Among ELECTRICITYCLUB.CO.UK’s favourite music podcasts in 2024 were ‘Word In Your Ear’ presented by former Smash Hits and Q editors David Hepworth and Mark Ellen, ‘Electronically Yours With Martyn Ware’ and ‘The Giddy Carousel of Pop’ discussing the history of Smash Hits. But best of all was the more general podcast ‘The Rest Is Entertainment’ hosted by Richard Osman and Marina Hyde which is part of Gary Lineker’s Goalhanger Podcast empire also behind ‘The Rest Is Politics’, ‘The Rest Is History’, ‘The Rest Is Money’, ‘The Rest Is Classified’ and ‘The Rest Is Football’; one suspects the popular socially conscious former footballer will not miss the BBC the way it will miss him 😉

If 2023 was something of a strange year, 2024 might have actually been stranger. There is a glimmer of hope for the future, but the signs are already there that things may get worse, be it socially, politically, environmentally or culturally… sometimes, people really do deserve what they get!

ELECTRICITYCLUB.CO.UK’s 2024 playlist ‘The Great Bleep Forward’ containing over 235 tracks from the year can be listened to on Spotify at https://open.spotify.com/playlist/4xMrAkCbeWvUmTfrN6i6Gu

Text by Chi Ming Lai
27th December 2024

FERAL FIVE Interview

25 November 2023 /

Photo by Keira Anee Photography

FERAL FIVE released their debut album ‘Truth Is The New Gold’ at the start of 2023 and ahead of the game, the duo employed various AI-enhancements on a number of tracks with technology created by the German based company Birds on Mars.

Described by its members Kat and Drew Five as “A 360 degree music and art album project”, FERAL FIVE utilised electronic components with traditional guitars and live percussive elements to create their own “Feraltropolis” for a long playing commentary on AI, social media and today’s strangely dystopian post-truth world.

As the year concludes, the ‘Truth Is The New Gold’ titles song has been given a funky new remix by Martyn Ware; FERAL FIVE had performed at his ‘Picasso Portraits’ night in 2016 hosted by the National Portrait Gallery.

FERAL FIVE chatted to ELECTRICITYCLUB.CO.UK about how ‘Truth Is The New Gold’, the title song’s Martyn Ware remix, the various AI developments which have been in the news recently and much more…

This first full length album ‘Truth Is The New Gold’ has been a long time coming as FERAL FIVE first released music in 2013? Why has it taken this amount of time?

We love making music and exploring ideas. Every track is a statement, and every statement we made we opted to push out as a single fairly quickly. We believe in all killer no filler, so it took us a while to stand still for long enough to craft an album that thematically and sonically we were proud of.

Also we’re producers as well as writers and musicians, so arranging, mixing and production is an in-house job where we put our own musicianship under the microscope. The pandemic meant we weren’t in the same room for some considerable time, so while we file swapped, that definitely slowed things down a bit too. Later when we finally got to be in the same room, we decided to shelve a number of songs originally slated for the album in favour of some new ideas and these really helped to crystallize the theme of the album. So the short answer is ‘Truth Is The New Gold’ didn’t have an overly long gestation, we were just a singles band before that we guess.

With your down-to-earth approach to electronically-assisted pop, do you feel any kinship with acts such as DUBSTAR or INTERNATIONAL TEACHERS OF POP?

Yes, we love what they do and feel a real kinship. We saw an amazing INTERNATIONAL TEACHERS OF POP set supporting Róisín Murphy, but we haven’t actually met in person. Maybe we should see your description as a genre that deserves its own festival! Although, we have to say that while electronics are pretty fundamental to our sound, anything that makes a positive contribution to our sonic palette is used. So on the new album, as well as electronic and beats, we use a range of live percussion, including some very delicate crystals. We’re also both very crafty guitarists and love the raw energy that brings. I guess you could say that we are looking for the human trait in everything we do even where we use electronics and other components, we are looking to bring out an organic feel that you can still groove to.

So what makes up the “Feraltropolis”?

It’s in two places really. It’s our own personal lives that we live outside of FERAL FIVE, our hopes, fears and beliefs, which for us as a team has a lot of conjunction on the Venn diagram, as you might say. Our data sets and values are the same. Then this becomes manifest and “real” within the landscape of FERAL FIVE’s art. If you wanted us to describe it, we’d say it’s a city in the not too distant future and the surrounding landscape. This was also the location for our album journey, exploring truth and trust. It can be bleak, it can be exciting, there’s always a lot going on. There’s always hope amid the dystopia.

Before all the recent debates, FERAL FIVE utilised AI on the album, how did the idea come about?

FERAL FIVE has always been at the bleeding edge of tech, unafraid to experiment and open to new ideas, and our first vinyl release was an EP with 3D printed art that we printed ourselves. On a later track, we worked with sonified algorithms, and visual ones for the video, courtesy of new materials designer Francis Bitonti.

We’d been thinking about AI for some time and wrote a song a while back about where it was heading – ‘Pet Show’ – about AI robo-companions, set in a bar with freaky creatures that can fulfill your wildest dreams.

With our album exploring truth and trust, AI was a natural part of exploring new realities, and using the technology in the form of an AI Kat Five opened up new sonic and thematic possibilities. We hear this voice – a character – uplifting us right from the beginning of the album, despite the dark undertones, reminding us “it’s not the end”.

The AI is not composing for us, that is very much us humans, but it’s playing a role, as a kind of narrator on the journey. It reminded us of first-person narrations you get in film-noir detective movies.

Tell us about the AI created by Birds on Mars? 

Birds on Mars are based in Berlin and are doing great work in AI so it was amazing to collaborate with them. They wanted to train their AI on Kat’s spoken voice, so she decided to read some of the album lyrics out. They sounded SO different when they weren’t being sung, it was a very disconcerting experience making that recording. BOM then gave us a selection of AI models and an interface, and then we had AI Kat Five to play with to sing, speak or make non-human sounds. We could make her say things we never said which was mind-blowing.

‘Golden Rule’ was described by yourselves as an ”AI-enhanced shimmering anthem of renewal and people coming together”, please discuss?

Our album explores darkness but is ultimately about light and hope. This final track was our overarching statement, that we must work together to build change. Though not forgetting that important statements are allowed to have a groove, so this track does have a strong dance vibe. Here we used the AI Kat, particularly in the opening and the end, as both an oracle, prescient of the dangers and wonders ahead, and also as a speaker of truth.

AI can help realise an imagined world or provide speedier assistance such as isolating John Lennon’s vocal for THE BEATLES ‘Now & Then’, how do you see its useful applications in music?

It can be a great creative tool, and we love the work of pioneering artists Holly Herndon, and Portrait XO. There are AIs to get your lyrical process going – not that we ever need that kind of help, and even AI mastering, though we’ve a favourite human in the form of our go-to sonic partner Katie Tavini for that.

The use to which Peter Jackson put AI in ‘Now & Then’ was a very interesting example of using AI not in a generative compositional sense, but to clean up the audio in ways that prior to that would, as you indicated, have taken way longer, and may not have had such amazing results. In the end it’s all about the choices, as McCartney once said: “the love you take is equal to the love you make”. Some artists may use AI to speed up the process in some technical areas, but when you use generative tools that go beyond their original parameters, the question of ownership and authenticity become important. There is an interesting point along that line where someone will ask, where is the artist? Who plucked the string? Did the string pluck itself? Or do we now owe all our royalties to an app developer?

But as the ‘Joan Is Awful’ episode of ‘Black Mirror’ showed, there are potentially more sinister implications with AI… your thoughts please?

For sure. AI serfdom, stripping musicians of their value, are all possibilities and more besides. It’s why we need ethical tech, and collaborative AI. Even tech giants are calling for regulation. The thing is, any tool, no matter how sharp or blunt, can be used for good or ill. There are endless positive ways it is being and will be used to solve some of humanity’s pressing issues. One of the key considerations is who makes the decisions about the use and deployment of AI. We risk talking about AI like it’s one thing. It’s a concept and whilst it has huge medical applications for good, it definitely has its darker side, from human profiling to smart weapons. To quote POP WILL EAT ITSELF, there are at least “16 different flavours of hell”.

Social media was the theme on the songs ‘Roll It With Me’ and ‘Camouflage’, are “doom scrolling” and attention seeking taking their toll?

We love a good doomscroll at times, but there’s so much digital anxiety around caused by the incessant demands of social media, and the increasingly tense and vicious behaviour online. People have to sell themselves and their lives to please algorithms, and you often see artists announcing they have to take a break.

‘Roll It With Me’ was heavily influenced by the pandemic and having to connect with people at a distance, often on screen. It’s about valuing the human everyday moments even if they’re fleeting and bittersweet.

‘Camouflage’ is about the tension between being on display everywhere, whether by choice, or on CCTV or other public cameras, and being anonymous. It’s a longing for a simple on off switch to camouflage yourself when you’re feeling overexposed, watched, socially anxious or simply shy. It could also be a spy thriller theme though.

How has it been having to use such social media platforms to get FERAL FIVE noticed in what has become a saturated music marketplace?

In person connections are always the best! We like to see social media as an extension of our art, whether that’s asking people to share their truths with us to be part of our new live audiovisual show, or exploring visual effects. So our work there is genuine and not a deliberate attempt to go viral. We guess that makes us hardcore.

It’s getting much harder to reach people though as tech giants squeeze creators, and change their functionality all the time, so it’s good to have our own website too. Maybe we should post more photos of us with our cats!

‘Silver Sky’ has a real good ol’ groove, how was it inspired musically and lyrically?

It was inspired by the changing night sky and some confused London birds. We wanted to explore light pollution in a city that never gets dark, and think about future mitigations people might use. It was also partly inspired by having our songs played to the trees at ‘The Dark Outside’ events in Galloway Forest dark sky park, and the need for protected areas.

We set out to conjure up a sparkling groove with bubbling synths, and also played long quartz crystals as an instrument (you can see them in the video). We had many conversations when we were producing it, about how to make things sound more silver.

‘The ‘Truth Is The New Gold’ title track acted as the trailer for the album at the start of the year and has now been remixed by Martyn Ware, how was the connection made and why was that particular one chosen?

We are so excited by his brilliant uptown remix, what a groove!

Martyn Ware is an all-time inspiration, and it was great to connect with him at Music Tech Fest a few years back, and get to share creative ideas. Kat has done some visuals for him including for his mighty Power Project exhibition launch. He also invited us to perform at his ‘Picasso Portraits’ night at the National Portrait Gallery along with legends like RADIOPHONIC WORKSHOP, WHITE NOISE and SCANNER.

We were thrilled when he offered to remix a song for us, and he asked to hear the whole album ahead of release so he could decide on which track. We were curious to see what he’d pick, and were stoked that it was Truth Is The New Gold which is the statement song, and he brought in Charles Stooke as well. We’ve a glittering video for the remix on its way.

Which have been your favourite tracks on this album?

It’s hard to choose. The driving force conceptually and musically and our absolute favourite is ‘Truth Is The New Gold’.

‘Gravity’ is another favourite, the newest song we wrote. It’s about space and desire, and we love playing it live.

‘Golden Rule’ is also up there. Why, because love is that golden rule and this is an album of dystopian themes but it’s also a love letter to humanity: don’t give up. It’s a sentiment.

Photo by Keira Anee Photography

How do you intend to release music in the future, are disparate tracks released ad hoc to streaming services really the way to go or can the long playing format survive?

Both. Long formats give you more of a chance to express your vision and create exciting merch, performances, and collaborations. We worked with design legend Malcolm Garrett on the album, and it’s been amazing. He’s created the artwork, T-shirts, and a collaboration with jewellery designers Tatty Devine. Copies of everything are going into his collection at the Special Collections Museum at Manchester Metropolitan University.

What is next for FERAL FIVE?

We’re very much focusing on live and our interactive audiovisual shows, as we want to share the album in this multi-sensory way.

We’ve been working with artist / technologist Jonathan Hogg who has created algorithmic visuals that he plays live, and the first performance we did with him was incredible. Each show is unique, with the audience able to contribute to what’s on screen, and Kat singing their thoughts, as well as the album songs. Truth IS The New Gold.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to FERAL FIVE

The album ‘Truth Is The New Gold’ is released by Reckless Yes in vinyl LP, CD and digital formats, available from https://feralfive.bandcamp.com/

The Martyn Ware remix of the title song is on the usual online platforms including at https://feralfive.bandcamp.com/album/truth-is-the-new-gold

https://www.feralfive.com/

http://www.facebook.com/FeralFive

https://twitter.com/feralfive

http://www.instagram.com/FeralFive

https://open.spotify.com/artist/6lFO7Wz038KeAcIodpRHcU

Text and Interview by Chi Ming Lai
25th November 2023

25 FAVOURITE MUSIC BOOKS

17 June 2023 /

Factory Records impresario and Granada TV presenter Tony Wilson once said: “When forced to pick between truth and legend, print the legend.”

Books about the trials and tribulations of the music industry come in all shapes, sizes and angles. The approach can be tricky… should they be personal accounts, encyclopaedic histories, stories based on real life but with some spin, or just snapshots of an era?

In recent years, autobiographies and memoirs have become very popular as money for old rope in the absence of physical music sales. These can range from being informative and hilarious to extremely bitter, with others coming over very dull in an attempt not to upset anybody. Meanwhile others feature so many falsehoods that they may as well be placed in the ‘Fiction’ section.

One less appealing format that has been gaining increasing prevalence is the fan memory compendium; this could be seen as a lazy and cheaper way of producing a publication as followers compete to be seen as the biggest fan. Meanwhile others, notably members of lower league bands, try to make out they were massive fans in the first place with recollections that are actually veiled attempts to promote their own music.

When writing a music book, it helps to actually read and research a few beforehand. In addition, when deciding whether a point is worthy of inclusion, the viewpoint of the reader must always be taken into consideration as they hypothetically ponder “so what?”. 

The 21st Century ubiquity of social media has proved that not everyone can string a coherent sentence together.  But where that may seem a barrier, a ghost writer can be the subject’s best friend and a number of the books listed here have taken that route.

Not a best of list, here are 25 music books that have become the personal favourites of ELECTRICITYCLUB.CO.UK listed in yearly and then alphabetical order by title.

DEPECHE MODE: BLACK CELEBRATION Steve Malins (1999)

Steve Malins’ biography features interviews with Alan Wilder, Daniel Miller and Flood. Offering assessment on the unusual band dynamic, one story that highlights things were going south is the debauched cricket match between DEPECHE MODE and OMD during the 1988 US tour. The continually underappreciated Wilder declares how he proudly bowled out Andy McCluskey whom he intensely disliked. Meanwhile Dave Gahan hovered up a line of coke before going into bat and was inevitably out for a golden duck!

‘Black Celebration’ was originally published by Andre Deutsch Ltd with 2001, 2005 + 2013 updated editions

https://www.depechemode.com/

TAINTED LIFE Marc Almond (1999)

This is a frank but humorous autobiography by the SOFT CELL frontman about living life with art school aspirations but suddenly thrust into becoming a pop star and having false tabloid stories written about him in a homophobic world. Attempting to rebuild a career having signed to Warners in 1991, in a reality check, he is told by MD Rob Dickens that the world does not need another Marc Almond album and suggests recording a Trevor Horn produced cover of Jacques Brel’s ‘Jacky’ as made famous by Scott Walker…

‘Tainted Life’ was originally published by Pan Books

http://www.marcalmond.co.uk/

I WAS A ROBOT Wolfgang Flür (2000)

‘I Was A Robot’ was the controversial autobiographical exposé of the KRAFTWERK machine combined with Wolfgang Flür’s partying exploits. However, as his account of OMD coming backstage to meet the band after the Liverpool Empire gig in 1975 has since proved to be false while his musical contribution to KRAFTWERK recordings has been shown to have been minimal, although entertaining, parts of this book should be taken with a pinch of salt.

‘I Was A Robot’ was originally published by Omnibus Press with 2003 + 2017 revised editions

https://www.facebook.com/WolfgangFlur1

THE ENCYCLOPAEDIA OF CLASSIC 80s POP Jonathan Blythe (2002)

Written in the irreverent vein of classic Neil Tennant-era Smash Hits, the best quote in this amusing book is about DURAN DURAN: “You will have surely have wondered why the girl you fancied seemed far more interested in a slightly porky bloke with bleached-blond hair and a foppish name. The compilation ‘Decade’ contains the 80s hits, but if you want a more comprehensive overview, go for the other one ‘Greatest’. You can usually find them both in the ‘CDs for £5.99’ section, to be honest”

‘The Encyclopaedia Of Classic 80s Pop’ was originally published by Allison & Busby

https://www.goodreads.com/en/book/show/1172733.The_Encyclopaedia_Of_Classic_80s_Pop

24 HOUR PARTY PEOPLE Tony Wilson (2002)

Given the Factory Records catalogue number FAC 424 and subtitled “What The Sleeve Notes Never Tell You”, this account of the Manchester independent label is centred around Wilson’s noted ego where the narrative reads as enjoyable spin rather than factual stories about the label, its bands and The Haçienda. His alleged legendary quote that ”The musicians own everything. The company owns nothing. All our bands have the freedom to f**k off” was to prove to be his downfall…

’24 Hour Party People’ was originally published by Macmillan

https://factoryrecords.org/

NEW ROMANTICS: THE LOOK Dave Rimmer (2003)

Smash Hits writer and author of ‘Like Punk Never Happened…’ Dave Rimmer takes a look at the flamboyant New Romantics via The Blitz Club playlists and profiles of SPANDAU BALLET, VISAGE, DURAN DURAN, SOFT CELL, DEPECHE MODE, KRAFTWERK and DAF. The Myth of Berlin and Futurism are also discussed and there are plenty of glossy photos that encapsulate its spirit.

‘The Look’ was originally published by Omnibus Press

https://www.rocksbackpages.com/Library/Writer/dave-rimmer/

IF I WAS Midge Ure (2004)

With dry humour, this is a sincere and honest account by Midge Ure of his career which included being a teen pop idol with SLIK who had their own Look-In magazine comic strip. As well as accounts of his success with ULTRAVOX and VISAGE and as a solo artist, there is also his darker descent into alcoholism in the wake of low sales. Our hero is candid about the occasionally tense dynamics with his colleagues, while an insight into VISAGE’s original contract with Polydor makes very interesting reading.

‘If I Was’ was originally published by Virgin Books with 2011 revised edition

http://www.midgeure.co.uk/

PET SHOP BOYS, CATALOGUE Philip Hoare & Chris Heath (2006)

This is a superbly presented visual retrospective of PET SHOP BOYS up to ‘Battleship Potemkin’ featuring artwork, video stills, stage sets and other artefacts accompanied by insightful commentary. There is also a chronology included as well as an interview with Neil Tennant and Chris Lowe who again steals the show with the quip “We still are grumpy, actually”!

‘Catalogue’ was originally published by Thames and Hudson Ltd

https://www.petshopboys.co.uk/

BRIAN ENO: ON SOME FARAWAY BEACH David Sheppard (2008)

Credited with taking David Bowie into “a whole new school of pretension” with The Berlin Trilogy, this authorised biography on Brian Eno traces his career beginning as a self-confessed non-musician with ROXY MUSIC twisting knobs on a VCS3 to producing U2. In between, he makes synthesizers go bong, popularises ambient music, develops Oblique Strategies with artist Peter Schmidt and gets his head around programming the Yamaha DX7. But the biggest revelation in the book? “Eno was shagging more women than Ferry”!

‘On Some Faraway Beach’ was originally published by Orion

http://www.enoweb.co.uk/

SPARKS: No1 SONG IN HEAVEN Dave Thompson (2009)

An enjoyable unauthorised biography of SPARKS, Ron and Russell Mael’s endearingly witty contributions to this book come from the author’s interviews with the brothers conducted between 1985-2009. There are also press cuttings, an expansive discography and a collector’s guide alongside quotes from former backing band members. But while the stories of the various albums are detailed, those wanting gossip on personal lives will be disappointed.

‘No1 Song In Heaven’ was originally published by Cherry Red Books

http://allsparks.com/

GARY NUMAN: BACK STAGE Stephen Roper (2012)

‘A Book Of Reflections’, long time Numanoid Stephen Roper gives a comprehensive account of the imperial years of Gary Numan from 1979 to 1981 via a series of interviews and memories from band members Chris Payne, RRussell Bell and the late Cedric Sharpley as well as the man himself. OMD’s Andy McCluskey, SIMPLE MINDS’ Jim Kerr and Nash The Slash give the viewpoint of the support acts while there are also additional observations from John Foxx, Richard Jobson and Jerry Casale.

‘Back Stage’ was originally published independently with revised 2017 eBook edition available from https://back-stage.dpdcart.com/cart/view#/

https://www.youtube.com/channel/UC-rRuX6k___Y4ZkTHwQg–Q

IN THE PLEASURE GROOVE: LOVE, DEATH & DURAN DURAN John Taylor (2012)

This autobiography traces the story of how a nervous bespectacled Brummie lad called Nigel became an international sex symbol as John Taylor, bassist of DURAN DURAN; “Now, I had only to wink in a girl’s direction in a hotel lobby, backstage or at a record company party, and have company until the morning” he recalls. As outrageous and debauched as some of these anecdotes of sex and drugs and rock ‘n’ roll are, it would have been very difficult for anyone thrust into this position aged 21 to have acted any differently.

‘In The Pleasure Groove’ was originally published by Sphere

http://www.duranduran.com/

MAD WORLD Lori Majeski & Jonathan Bernstein (2014)

‘Mad World’ delves into the spirit, the politics and the heartache behind some of the greatest songs in popular culture with an American MTV viewpoint courtesy of enthusiastic Duranie Lori Majewski, balanced by the critique of Glaswegian Jonathan Bernstein. The contrasting dynamic ensures a celebration of the era while simultaneously pulling no punches with Bernstein lobbing hand grenades in the direction of KAJAGOOGOO and THOMPSON TWINS!

‘Mad World’ was originally published by Abrams Image

https://www.facebook.com/madworldthebook

JAPAN: A FOREIGN PLACE Anthony Reynolds (2015)

With the co-operation of Richard Barbieri, Steve Jansen and Rob Dean, this book is the first of its kind about the influential enigma that was JAPAN. With detailed accounts by band members and controversial manager Simon Napier-Bell among others, notably absent is David Sylvian who appears via archive interviews while the late Mick Karn is quoted from his own autobiography ‘Japan & Self Existence’.

‘A Foreign Place’ was originally published by Burning Shed

http://nightporter.co.uk/

ELECTRI_CITY: THE DÜSSELDORF SCHOOL OF ELECTRONIC MUSIC Rudi Esch (2016)

First published in German in 2015, this history gives a fascinating insider’s account of The Düsseldorf School and its cultural significance via interview quotes. Contributors on the home side include Wolfgang Flür, Robert Görl, Gabi Delgado, Hans Lampe, Ralf Dörper and Susanne Freytag, while the Brits they influenced feature Andy McCluskey, Martyn Ware, Dave Ball and Daniel Miller among their number. As Robert Görl says: “Wir wollten lieber mit Maschinen arbeiten… We always preferred working with machines”.

‘Electri_City’ was originally published by Omnibus Press

https://www.facebook.com/Electri.city.Esch

LET’S MAKE LOTS OF MONEY Tom Watkins with Matthew Lindsay (2016)

Subtitled “Secrets of a Rich, Fat, Gay, Lucky Bastard”, this is the autobiography of the late Tom Watkins, the Svengali who managed PET SHOP BOYS, BROS and EAST 17. “A big man with a loud voice” said Neil Tennant, but he had a bolshy ability to extract favourable deals including a rumoured 20% commission on gross income while always asking “What would Edna in Huddersfield think?”. Later becoming disillusioned with the pop industry, he describes ‘The X Factor’ as being like “a Nuremberg Rally on pink drugs”

‘Let’s Make Lots Of Money’ was originally published by Virgin Books

https://www.electricityclub.co.uk/tom-watkins-lets-make-lots-of-money/

SUBSTANCE: INSIDE NEW ORDER Peter Hook (2016)

An informative in-depth look inside NEW ORDER, this huge memoir running to over 750 pages by Peter Hook was informative but not unsurprisingly tinged with bitterness and anger. But if you want to know where the band played on 9 April 1985, it’s here! There are track-by-track rundowns of each NEW ORDER album (apart from ’Republic’) and if you’ve always wanted to find out which sequencer was used on ‘True Faith’ or what Hooky’s Top16 bass cab messages are, then look no further!

‘Substance’ was originally published by Simon & Schuster

https://www.facebook.com/peterhookandthelight/

RECORD PLAY PAUSE + FAST FORWARD: Stephen Morris (2019 + 2020)

Effectively a lengthy book divided into two parts, Volume I of Stephen Morris’ memoir demonstrated his abilities as an engaging storyteller blessed with an entertaining dry wit, able to convey his growing up in an amusing and relatable manner. In the NEW ORDER dominated Volume II, readers cannot help but laugh out loud when our hero discovers that the 10 mile shooting range of his newly acquired ex-British Army Abbot FV433 self-propelled gun will make Bernard Sumner’s house in Alderley Edge an easy target!

‘Record Play Pause Rewind’ + ‘Fast Forward’ were originally published by Constable

https://twitter.com/stephenpdmorris

ELECTRONIC BOY: MY LIFE IN & OUT OF SOFT CELL Dave Ball (2020)

The quiet half of SOFT CELL, Dave Ball attended the same Blackpool school as Chris Lowe from PET SHOP BOYS but they never met. There was obviously something in the sea and the accounts of the Northern Soul scene point towards how that influence, along with the affordability of synthesizers, was to seed a long and successful music career which later included THE GRID. The Electronic Boy is honest about his various demons, but there is also humour and an equipment list appendix plus plenty of technical talk.

‘Electronic Boy’ was originally published by Omnibus Press

https://www.facebook.com/daveballofficial

ADVENTURES IN MODERN RECORDING Trevor Horn (2022)

Chaptered around 23 significant pieces of music in the life of Trevor Horn, the producer provides an insight into the making of his greatest moments. Music industry politics are discussed, notably with his ZTT signings FRANKIE GOES HOLLYWOOD, PROPAGANDA and THE ART OF NOISE. Among the revelations are getting bassist Mark Lickley fired from ABC but in all, this is a fun read with lots of name dropping… so imagine sitting in a van with Grace Jones and Jackie Chan that has no seat belts!

‘Adventures In Modern Recording’ was originally published by Nine Eight

https://www.facebook.com/trevorhornofficial

ELECTRONICALLY YOURS Vol1 Martyn Ware (2022)

An autobiography that covers up to the end of 1992, a quarter of the book is brilliantly devoted to a track-by-track analysis of every released recording that Martyn Ware was involved in by THE HUMAN LEAGUE, HEAVEN 17 and BEF. Politics looms within ‘Electronically Yours Vol1’ but without this socially conscientious drive , there would be no ‘Penthouse & Pavement’ or ‘The Luxury Gap’. With the recent passing of Tina Turner, Ware’s accounts of working with her now have added poignancy.

‘Electronically Yours Vol1’ was originally published by Constable

https://martynwareofficial.co.uk/

LISTENING TO THE MUSIC THE MACHINES MAKE Richard Evans (2022)

Focussing on “inventing electronic pop”, ‘Listening To The Music The Machines Make’ tells the story of the Synth Britannia generation by referencing archive material rather than via new interviews with the protagonists of the period. The end result is a more accurate picture of how synthesized forms were derided by a hostile music press back in the day, contrasting the rose tinted view projected by some cultural observers and fans today. But over 40 years on, this music has won the fight with many of the acts still performing today.

‘Listening To The Music The Machines Make’ was originally published by Omnibus Press

https://inventingelectronicpop.com/

THE SOUND OF THE MACHINE: MY LIFE IN KRAFTWERK & BEYOND Karl Bartos (2022)

A detailed autobiography of Karl Bartos about his time in KRAFTWERK and more, his optimistic disposition is a key aspect of this story. But although rising to the ranks of co-writer for ‘The Man Machine’ album, some members were more equal than others as Ralf Hütter bagged himself 50% of the publishing for the lyrics of ‘Spacelab’ and ‘Metropolis’ despite those tracks containing one word, thus reducing Bartos’ musical share! Bitterness is largely absent from this book, but it is no “sex, synths und schlagzeug” romp either.

‘The Sound Of The Machine’ was originally published by Omnibus Press

http://www.karlbartos.com/

THEMES FOR GREAT CITIES: A NEW HISTORY OF SIMPLE MINDS Graeme Thompson (2022)

Featuring new interviews with original members Jim Kerr, Charlie Burchill, Mick MacNeil and Derek Forbes, this biography focuses on the SIMPLE MINDS era of 1979-1985 when they were at their imperial and imaginative best. So where did it all go wrong? The book reveals what ELECTRICITYCLUB.CO.UK has thought since buying the album in 1984 and that Jim Kerr himself now confirms… the second half of ‘Sparkle In The Rain’ is not particularly good! So who agrees? “LET ME SEE YOUR HANDS!”

‘Themes For Great Cities’ was originally published by Constable

https://www.simpleminds.com/

CONFORM TO DEFORM: THE WEIRD & WONDERFUL WORLD OF SOME BIZZARE Wesley Doyle (2023)

The story of Some Bizzare was always going to be a grand undertaking but Wesley Doyle managed to assemble Marc Almond, Dave Ball, Matt Johnson, Daniel Miller, Steve Hovington, Neil Arthur, JG Thirlwell, Stephen Mallinder, Anni Hogan, Stevo Pearce and his long suffering personal assistant Jane Rolink to document the rise and fall of the label that got into bed with the majors. Opting for a chronological quotes narrative, the book captures the personality of the characters involved and the tensions between them.

‘Conform To Deform’ was originally published by Jawbone Press

https://twitter.com/WesleyDoyleUK

Text by Chi Ming Lai
13th June 2023

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