Tag: Midge Ure (Page 2 of 9)

INDIA ELECTRIC CO. Interview

18 March 2022 /

Cole Stacey and Joseph O’Keefe of INDIA ELECTRIC CO. will be familiar to fans of Midge Ure as members of his backing band.

The South West English duo released their debut album ‘The Girl I Left Behind Me’ in 2015 and while their music has traditional folk-derived roots, they have since added keyboards and synths to augment their sound after Midge Ure launched his BAND ELECTRONICA live format to revisit his VISAGE and ULTRAVOX work.

Together with Midge Ure’s drummer Russell Field, INDIA ELECTRIC CO. will be undertaking their first headline UK Tour in three years, while preparing their third album for release to coincide with with Midge Ure’s ‘Voice & Visions’ tour which will see Stacey and O’Keefe not only back the diminutive Glaswegian again but also be his opening act.

During a break from rehearsals, INDIA ELECTRIC CO. spoke to ELECTRICITYCLUB.CO.UK about becoming part of the Midge Ure axis and how the experience has permeated into their own music.

Anyone who has ever seen the two of you backing Midge Ure in the last 7 or so years will be aware that you are very versatile musicians. How did you come to his attention?

Back in 2014, Midge was kind enough to let us do the support on a couple of intimate acoustic solo shows, so we packed the Ford Fiesta and drove from Devon to Motherwell in one day. The dressing room was so close to the stage and we were making such a noise that Midge heard our set and a plan to work together was hatched.

INDIA ELECTRIC CO. played with Midge on the ‘Breathe Again’ tour in 2015. That album is largely traditional in instrumentation. But the ‘Something From Everything’ tour in 2016 used a similar format but featured fresh takes on more electronic derived material such as ‘The Damned Don’t Cry’, ‘ I Remember (Death In The Afternoon)’, ‘Fade To Grey’, ‘Dancing With Tears In My Eyes’ and ‘If I Was’. What was the dynamic between the three of you in terms of arrangements?

The whole concept was built around stripping the songs back to their fundamentals and letting one or two of the main melodies work around the brilliant vocal lines of what are iconic tunes. As we didn’t have drums, the rhythms and energy came from guitars and mandolins balanced by the violin and piano. Working out the arrangements and picking out individual synth lines that could be replicated on violin and mandolin was an incredible way as songwriters ourselves to get to the nuts and bolts of why certain songs were so successful. Ultimately the songs took on a different life and maybe connected with people in a different way, certainly songs like ‘Live Forever’ and ‘I Remember (Death In The Afternoon)’ felt like new incarnations and were huge fun to play everywhere we went.

Reworking a song in an acoustic manner is not always straightforward is it?

It maybe allows you to see if a song is still accessible to people without textures, layers and counter melodies, the great thing about those acoustic tours with Midge is they allowed audiences to hear his extraordinary vocals really close up and our role was accompanying that and trying to let the song speak for itself. Fortunately rehearsals were at Midge’s house and coffee and cake was on hand to keep us going strong as we tried to figure out accordion melodies and how to make the mandolin sound less twangy!

Were there any songs that didn’t work as well in this ‘Something From Everything’ set?

You’d have to ask the audiences that but no matter whether it was in Melbourne or Minehead people seemed to connect with the songs in this format. Songs that on the face of it like ‘Fade to Grey’ that maybe might not work in this format seemed to shine as guitar, violin and mandolin.

Midge Ure then presented BAND ELECTRONICA in 2017 and you were handed synthesizers, how did you find the transition? Were you like ducks to water?

Possibly more squirrels to water. It did feel like a voyage of discovery but hearing how those ULTRAVOX records were made and subsequently played live without computers was incredible. Getting the opportunity to work with Russell on drums and have bass was huge fun but ultimately we knew a lot of the songs albeit in a different format, so it felt like a natural transition…whether Midge would say the same is a different question!

Does the extra technology aspect reduce or accentuate anxiety in a live context?

Copper & Blossom Photography

Hahaha, the first time INDIA ELECTRIC CO. used a laptop and interface on stage at Glastonbury, our 10 minute soundcheck was spent turning the computer on and off because we lost sound so it’s certainly a different level of anxiety compared to tuning a mandolin!

With BAND ELECTRONICA sometimes there’s 6 different keyboard splits for one song and so requires a different level of focus perhaps. Fortunately Midge has a great team with him who are on hand should one of us be having a technological meltdown!

The ‘1980’ tour in 2019-2020 featuring VISAGE material and the whole ULTRAVOX ‘Vienna’ album proved this be one of Midge Ure’s most popular tours in recent years, why do you think these songs have stood the test of time over four decades? Is there something in the structure or melodies that you have observed from playing the songs over many nights?

The concept of playing a whole seminal album live as if you’re listening it to on the record player is brilliant and when you add in the fantastic lighting that Rick Forman did on the ‘1980’ tour, it felt like it allowed people to be transported back to when they first heard the ‘Vienna’ album. It was such a unique sound from a unique band and moving seamlessly from ‘Private Lives’ to ‘Astradyne’ to ‘Vienna’ within an album demonstrated so many skills ULTRAVOX had. Having Rusty Egan and a Blitz Club narrative within each show gave a feeling of nostalgia mixed with the songs sounding fresh and alive in 2019.

This experience has now permeated into your own material and your upcoming third album features more electronics. Is it like a new adventure for you, in what situations might you use synthesizers now that perhaps you wouldn’t done before?

Midge lent us his Moog Minatuaur four years ago and we used it on a traditional folk track and no-one seemed to notice or mind so we haven’t looked back since! We’ve always tried to fuse traditional instruments and contemporary production techniques and this feels like the logical progression. In the pandemic we got hold of a DFAM which will feature heavily on the album and days have been lost to creating sounds and beats.

What is your new album called and how would you describe it? Are there any particular songs that are likely to appeal to electronica enthusiasts?

It is being recorded this very minute and it’s tough to suggest song names as the bit that comes last normally around the time the artwork needs doing! The last track on our last album ‘Tempest II’ hinted at what was to come by using an 808 and bass synth modules. We are using bolder rhythms, taking more risks and having huge fun with the synths. So this is an album we hope will connect with more people outside a folk world and launching it in time for the Midge shows feels like it gives us the best to judge whether we’ve got that right. We want to write and record songs that are as accessible to the most amount of people and after three years of writing, we’re really looking forward to sharing them.

Do you have any defined roles when composing for INDIA ELECTRIC CO?

Since we were 19, sitting in bedrooms in Devon with a piano and guitar, we’ve always tried to write together and bring our different skills together. Always having diverse references for writing and then production helps a huge amount and in many ways the enforced break from touring has given us the space and time to get back to a more organic way of writing. The influences of beats from the DFAM has given us a new platform for writing which hopefully shines through on the album.

Hannah Peel who played with John Foxx has successfully used traditional and electronic textures together, what are the future possibilities for INDIA ELECTRIC CO?

If we’re half as successful as Hannah Peel then we’ll have done well, her late night Radio 3 programme is always full of gems that we go back to time and time again. Already by adding drums to our live set, it’s expanded our horizons and with the bass elements of synths creating a bigger sound live is a big focus. Right now we are concentrating on this third album, getting ready to tour and trying to work out which coffee shops to drag Russell to when we’re on the road.

Was this headline tour initially to keep you both stage sharp after the postponement of Midge’s ‘Voice & Visions’ tour? What can people who are thinking about coming along expect?

It felt right to play a headline set in as many towns and cities that we were in with Midge and keep momentum going, we’ve had three years off so we’re ready to play as many shows as possible!

By April we’re hoping people will be keen to get out and see live music again and rather than go back to 2019, we wanted to give people more of a show and move forward so we’ve asked Russell Field to join us for the whole tour on drums. We’re going to play old songs with new arrangements and new songs that have only been heard by us and the neighbours so it’s really exciting. We’ve always tried to play in the most diverse range of spaces on our own tours, from museums to chapels and laundrettes to campfires so that each night is different. People have been incredibly supportive that we’ve had to just add an extra night so hopefully we’ve found the right balance for the shows.

When the ‘Voice & Visions’ tour finally gets going, you will also be the opening act as well. How will you maintain the energy and enthusiasm to play two sets each night?

We’ve had two years off so we’re more energised than ever! We can’t wait to finally get going with the tour and enthusiasm is just a natural part of the experience, there would be no point in doing it if you didn’t get huge enjoyment from playing every night. To have the energy from audiences again will be incredible. We might have to have a quick costume change between sets but apart from that it’ll run like clockwork!

Will there be anything you will do differently when playing to people who come to Midge Ure’s more electronic based shows compared to your own audience.

For the support shows with Midge, we’ll be playing half an hour and as loyal and amazing as his fans are, we are aware that playing 30 mins of traditional folk tunes on mandolin and accordion would be foolish. We’ll have our full set up with drums for these shows and will combine our new album and the songs we think work best with a song they might be more familiar with to try and find some common ground. We had huge fun re-working ‘Wicked Game’ by Chris Isaak in the lockdown and many of Midge’s fans were very kind and positive in their response to how we recorded our version.

How were rehearsals for the ‘Voice & Visions’ tour coming along? Do you have any favourite songs from Midge Ure’s portfolio that you particularly enjoy playing?

The band have done days of pre-rehearsal prep by sorting out all the parts and who’s playing which part and with what sound. As always Midge has prepared meticulously and knows exactly what sound for each instrument. It’s huge fun sitting down together and talking through how the songs should work and we are about to go for a week’s long rehearsals so by September we’ll be raring to go. ‘Serenade’ is currently a bit of an IEC favourite although that may be giving too much away already! From the previous years ‘Astradyne’ and ‘Private Lives’ were always so much fun playing live.

What are your hopes and fears as you prepare to go out on the road after quite some time?

It’s a hugely exciting time preparing for the year ahead and for getting back out and sharing new songs and sounds with audiences. For us, having the opportunity to tour our headline shows with Russell is something we can’t wait to do and learning what new songs connect with people in a live format. We can’t wait for April!

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to INDIA ELECTRIC CO.

Special thanks to Richard Duncan at Shoelay Music

INDIA ELECTRIC CO. UK Tour 1st Leg:

Aldershot West End Centre (6th April), Fareham Ashcroft Arts Centre (7th April), London Kings Place (8th April), Bournemouth Folk Club  (9th April), Newcastle The Cluny (13th April), Edinburgh Voodoo Rooms (14th April), Glasgow Glad Cafe (15th April), Manchester Bury Met (16th April), Oswestry Hermon Chapel Arts Centre (20th April), Clonter Opera Theatre (21st April), Otley Courthouse (22nd April), Sheffield Greystones (23rd April), Liverpool Royal Philharmonic (24th April), Cambridge The Junction (25th April), Burton-on-Trent Brewhouse Arts Centre (26th April), Lyme Regis Marine Theatre (28th April), South Petherton The David Hall (30th April)

https://indiaelectricco.com/

https://www.facebook.com/indiaelectricco

https://twitter.com/indiaelectricco

https://www.instagram.com/indiaelectricco/

https://indiaelectricco.bandcamp.com/music

INDIA ELECTRIC CO. will be touring with Midge Ure through 2022-2023, visit http://www.midgeure.co.uk/ for further information

Text and Interview by Chi Ming Lai
18th March 2022

WOLFGANG FLÜR Magazine 1

3 March 2022 /

Wolfgang Flür is best known as one of the two electronic percussionists in the classic line-up of KRAFTWERK that gave the world ‘Radio-Activity, ‘Trans-Europe Express’, ‘The Man Machine’ and ‘Computer World’.

But despite what has been close to a five decade recording career,  Wolfgang Flür releases what is only his second full-length collection under his own name. Flür’s first album on departing Kling Klang was ‘Time Pie’ issued in 1997 under the moniker of YAMO, but ‘Magazine 1’ follows up 2015’s ‘Eloquence’ which collected a range of solo tracks and collaborations recorded since 2002.

‘Magazine 1’ also does this to a lesser extent by featuring ‘Zukunftsmusik’ with U96 which first appeared on the dance combo’s 2018 ‘Reboot’ collection and reappeared in edited form on the collaborative album ‘Transhuman’ in 2020. This is an excellent track but here it is again in its third long playing incarnation. This Teutonic “future music” with Flür’s distinctive vocal remains equal to ‘Activity Of Sound’, his 2014 collaboration with Ireland’s iEUROPEAN.

However, things are not all up to the standard of ‘Zukunftsmusik’; using an array of robotic voice treatments, the opening ‘Magazine’ song featuring Ramón Amezcua is frankly a mess as it moves between its metronomic and shuffling beat sections. Again with U96 and Flür rapping, ‘Best Buy’ distorts its robotics in a KRAFTWERK vein and promises Kling Klang aesthetics, but things are more ‘Tour De France Soundtracks’ than even the best material on ‘Electric Café’ with the middle eight speech dialogue being particularly irritating as the track morphs into another mess.

Released in 2021 by BAND ELECTRONICA, the new electronically focussed project of Midge Ure, ‘Das Beat’ was a glorious slice of robopop in collaboration with Flür with “Beats through wires, beats through walls”. Unfortunately in his own ‘Magazine 1’ version, things that were good about the song like the blisteringly catchy synth hook in the classic KRAFTWERK tradition have been watered down into a mush with a new melody that is nowhere near as appealing. Meanwhile the icy motorik bossa nova inexplicably has incongruous sections of electro beats thrown in.

With cutting Numan-esque synth riffs and the cast involved, the pulsating ‘Birmingham’ featuring Claudia Brücken on lead vocals duetting with Flür’s vocodered presence and Peter Hook on his low-slung bass should have been a highlight, but disappoints due to its lack of structure. Also using similar Numan keyboard stylings, ‘Night Drive’ features Anushka who adds a soulful tone of voice to the strident electro backdrop, recalling the dancefloors of New York like The Danceteria with an enjoyable club friendly excursion although halfway through, it adopts a darker cutting tone.

‘Electric Sheep’ with Carl Cox and U96 possesses a childlike quality that will polarise listeners but ‘Billionaire (Symphony Of Might)’ with Juan Atkins is the sort of generic techno that Flür often plays in his DJ sets which he misleadingly passes off as concerts. Closing the album with ‘Say No!’, the lengthy MAPS collaboration points to where ‘Magazine 1’ could easily have gone, utilising a Flür anti-war monologue with choral and vocoder interventions over an absorbing midtempo electronic soundscape that evolves into a wonderful Germanic crescendo.

A true mixed bag of an album, two of the best tracks have already come out while several of the collaborations do not live up to their potential. But for KRAFTWERK fans seeking new material from members of the classic line-up, ‘Magazine 1’ will be welcomed, providing flashing reminders of a pioneering era that will act as an escape from the disorientations and uncertainties of the present day.

‘Magazine 1’ is released by Cherry Red Records on 4th March 2022 in CD + vinyl LP formats

https://www.cherryred.co.uk/artist/wolfgang-flur/

https://www.facebook.com/musiksoldat

https://twitter.com/iwasarobot

Text by Chi Ming Lai
Photos by Markus Luigs
3rd March 2022

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2021

11 December 2021 /

Despite the general appetite for nostalgia with boxed sets and coloured vinyl of classic albums hogging the pressing plants, there was a lot of excellent new music released in 2021.

The quality of individual tracks released in 2021 was extremely high but at the end of the day, only 30 songs can be selected as a snapshot of the calendar year. As Monica Geller in ‘Friends’ once said, “Rules are good, rules help control the fun” – rules, routine and structure = creativity and fun ?

So the highly commended group who did not quite make ELECTRICITYCLUB.CO.UK’s 30 songs of 2021 includes Tobias Bernstrup, David Cicero, Alice Hubble, Michael Oakley, Jason Priest, Nina, Eric Random and Kat Von D’s duet with Peter Murphy, along with SIN COS TAN, FIAT LUX, LONELADY, GLITBITER, KNIGHT$, PEAKES, DESIRE, SOFTWAVE, XENO & OAKLANDER, BUNNY X, PISTON DAMP, FRAGRANCE. and HANTE.

So here are ELECTRICITYCLUB.CO.UK’s 30 songs of 2021, presented as usual alphabetically by act with a restriction of one song per artist moniker.

ACTORS Love U More

With the recruitment of new bassist Kendall Wooding, the male-to-female ratio of ACTORS has equalled up and altered their dynamic. The vocal duality between Jason Corbett and keyboardist Shannon Hemmett takes an increased role. With the brooding baritone counterpointed by girly soprano and male falsetto to provide an uneasy uplift to the gloomy domino dance, ‘Love U More’ was like a goth DURAN DURAN with metronomic rhythms and eerie synths.

Available on the album ‘Acts Of Worship’ via Artoffact Records

https://www.actorstheband.com/

BAND ELECTRONICA featuring MIDGE URE Das Beat

Midge Ure launched his BAND ELECTRONICA as a recording entity with ‘Das Beat’, a glorious slice of Teutonic robopop in collaboration with Wolfgang Flür. With “Beats through wires, beats through walls”, the icy motorik bossa nova was complimented by a blisteringly catchy synth hook in the classic Kling Klang tradition and harked back the Glaswegian’s days hearing KRAFTWERK at The Blitz Club and making music with VISAGE and ULTRAVOX. Dancing is a given to the synthesizer rhythm.

Available on the single ‘Das Beat’ via BMG Rights Management

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

JORJA CHALMERS Rhapsody

Although a seasoned musician as the sax and keyboard player for Bryan Ferry, Australian Jorja Chalmers did not release her first album until 2019. The superb take on SIOUXSIE & THE BANSHEES ‘Rhapsody’, an orchestrated gothic epic off their ninth album ‘Peepshow’, featured an intriguing electronic warble within its stripped down arrangement. From its claustrophobic cocoon, Chalmers sounded trapped inside an unsettling icy soundscape of synthetic strings and choirs.

Available on the album ‘Midnight Train’ via Italians Do it Better

https://www.instagram.com/jorjachalmers/

CLASS ACTRESS Saint Patrick

CLASS ACTRESS is the nom de théâtre of one-time Giorgio Moroder protégée Elizabeth Harper. Releasing a new EP ‘Sense Memory’ which initially featured three cover including THE SMITHS’ ‘Ask’ but steadily expanded with new material, the percussive ‘Saint Patrick’ featured an array of infectious synth hooks while Harper’s richly passionate vocal over some strident keyboard work combined like Nerina Pallot fronting BOY HARSHER for a brilliant slice of modern electronic pop.

Available on the EP ‘Sense Memory’ via Terrible Records

https://classactress.com/

HATTIE COOKE I Get By

Perhaps more intentionally pop than Hattie Cooke has ever been before on her previous two long playing outings, an intimate gravitas comes with the expanded electronic texturing on her third album ‘Bliss Land’ and this is undoubtedly stamped on its opening song. The hypnotic ‘I Get By’ was superb with ringing hooks, sweeping soundscapes and airy understated vocals that wouldn’t have sounded out of place on an Italians Do It Better ‘After Dark’ compilation.

Available on the album ‘Bliss Land’ via Castles In Space

https://twitter.com/hattiecooke

DANZ CM Human Existence

‘The Absurdity of Human Existence’ is the debut album by DANZ CM, the artist formally known as COMPUTER MAGIC. New York based Danz Johnson is the synth girl behind both vehicles with a passion for the development of the electronic music. Reflecting the album’s title, the total melancholic brilliance of ‘Human Existence’ sees our heroine make a sombre declaration that “you can’t save me, I can’t save you” reminiscent of CHROMATICS meeting OMD.

Available on the album ‘The Absurdity Of Human Existence’ via Channel 9 Records

https://www.zdanz.com/

DAWN TO DAWN Care

Danceable dreampop trio DAWN TO DAWN feature in its line-up Tess Roby who released her debut album ‘Beacon’ on Italians Do It Better. Also featuring Adam Ohr and Patrick Lee with their Minimoog, Roland System 100, Roland Juno 60 and Korg 700s armoury, ’Care’ was written on a cold winter’s night and unsurprisingly captures that mood. Nocturnal yet rhythmic, Roby’s alluring folk-tinged vocal offsets the various synthetic overtures for a mysterious weightless quality.

Available on the single ‘Care’ via https://dawntodawn.bandcamp.com/track/care

https://www.facebook.com/dawntodawnmusic

DEVOIR Mercer

Leeds based duo DEVOIR are Imogen Holmes, best known as IMI and Jacob Marston. Although ‘Mercer’ is entirely electronic, it differs from IMI in its four-to-the-floor construction. So imagine GOLDFRAPP at an Alpine rave in the Hornlihutte basecamp next to The Matterhorn. As the cinematic techno builds, the magnificent voice that graced IMI soars and shines, expressing itself at the extremes of alluring spoken word and piercing high soprano.

Available on the single ‘Mercer’

https://www.facebook.com/wearedevoir

DIAMOND FIELD feat BELINDA BRADLEY A Kiss Apart

DIAMOND FIELD is the musical vehicle of Andy Diamond, the New York based Kiwi who, looks to studio icons such as Hugh Padgham, Rupert Hine and Peter Wolf as his heroes. With a backing track like NEW ORDER’s ‘Your Silent Face’ reworked by OMD, ‘A Kiss Apart’ is superb and sees a velvet performance by Belinda Bradley; akin to the other Belinda, Ms Carlisle crossed with Marcella Detroit there is a gorgeous chorus and some great synth interventions recalling lost Mute trio PEACH.

Available on the album ‘Diamond Field’ via Sofa King

https://diamondfieldmusic.com/

DLINA VOLNY Bipolar

Inspired by the spectre of the former Soviet Union, Minsk trio DLINA VOLNY explore post-punk with a dance beat not unlike NEW ORDER. Having already had two albums already under their belt and singing in English with an inherent Eastern Bloc gloom in Masha Zinevitch’s vocals throughout their Italians Do It Better period, their fifth single for the label ‘Bipolar’ was dark disco with plenty of synth and mystery that asked “But what is it like being on the border?”.

Available on the album ‘Dazed’ via Italians Do It Better

https://www.instagram.com/dlina_volny/

LAURA DRE All Day, All Night

With her mix of modern synthpop and synthwave coupled to her deep nonchalant vocals, Laura Dre captures the rainy dystopian air of ‘Blade Runner’, but with a sexy enigmatic allure and a mischievously wired groove that wouldn’t go amiss in a West Berlin nightclub. The glorious uptempo disco number ‘All Day, All Night’ offers great crossover potential; drenched in sparkle and a delicious percussive base, it was for fans of early PET SHOP BOYS.

Available on the album ‘Moving Spaces’ via Outland Recordings

https://lauradre.com/

DURAN DURAN Featuring CHAI More Joy!

DURAN DURAN released their 15th studio album ‘Future Past’ in a “live for the moment” reference of how something today can become a cherished memory in times to come. The chiptune inspired ‘More Joy!’ was reminiscent of past glories, its syncopated disco poise capturing DURAN DURAN at what they do best and with hypnotic electronics offset by a wonderful bass guitar run and chants by Japanese rock band CHAI, its exuberant manner presented the right dose of escapism.

Available on the album ‘Future Past’ via Tape Modern / BMG

http://www.duranduran.com/

GLÜME Get Low

Like a tattooed Marilyn Monroe dropped into Twin Peaks, GLÜME is a shimmering new starlet. From her debut album ‘The Internet’, ‘Get Low’ was an intriguing slice of accessible avant pop about the high of falling for someone where brain chemistry and nervous systems are affected. Applying some rumbling electronic bass, stabbing vintage synths and simple but prominent digital drum beats, ‘Get Low’ sounded not unlike an experimental hybrid of OMD and LADYTRON!

Available on the album ‘The Internet’ via Italians Do It Better

https://www.facebook.com/babyglume

ROBIN HATCH Airplane

Made using the T.O.N.T.O. synth complex created Malcom Cecil and Robert Margouleff which was made famous by Stevie Wonder, the same titled album is the fifth solo body of work by the Toronto-based neoclassical composer Robin Hatch. The sinister ‘Airplane’ took shape around an avant garde soundscape. Utilising the talents of doom metal violinist Laura Bates of VOLUR alongside the synthetic strings and hypnotic generative blips, this encapsulated an unsettling gothic grandeur.

Available on the album ‘T.O.N.T.O.’ via Robin Records

https://twitter.com/robinhatch

ITALOCONNECTION featuring ETIENNE DAHO Virus X

For Italo veterans Fred Ventura and Paolo Gozzetti, the ethos of ITALOCONNECTION is “to sound vintage in a modern way”. The superb ‘Virus X’ featuring French veteran Etienne Daho sprung a surprise as a suave slice of Gallic synthwave. With its downbeat verse and an emotive chorus, this was as a fitting musical document of the past year and half’s tensions while using toxic personal relationships as a poignant lyrical analogy.

Available on the album ‘Midnight Confessions Vol1’ via Bordello A Parigi

https://www.facebook.com/italoconnection

JAKUZI Hiç Işık Yok

Hailing from Turkey, JAKUZI’s Italo flavoured song ‘Hiç Işık Yok’ saw the usual cowbells substituted by processed pots and pans, while the mix of classic brassy tones and chilling synth pads blended to create something rather unusual and extraordinary. Working with Maurizio Baggio who mixed the most recent albums by BOY HARSHER and THE SOFT MOON, the Italian producer turned what had been a gothic futureless mood piece with a sombre vocal intonation into a dark but catchy electronic disco number.

Available on the EP ‘Açık Bir Yara’ via City Slang

https://www.facebook.com/jakuz1/

JOON Good Times

2021 was a year craving for more ‘Good Times’ and JOON, the electronic solo project from Maltese producer Yasmin Kuymizakis did her best to remember them. Signing to Italians Do It Better, she reflected on “The way you sing your songs and make me dance, the way you take a chance on a little romance” before affirming “You remind me of the good times”. It all captured a charming innocence in a dreamy Mediterranean take on Japanese City Pop.

Available on the album ‘Dream Again’ via Italians Do It Better

https://www.templeofjoon.com/

КЛЕТ Eternity

КЛЕТ is a music project of Bohemian-born Michal Trávníček. Primarily celebrating the Soviet space programme with its impressive series of firsts, while the ‘Alconaut’ album’s pivotal track ‘Gagarin’s Start’ honoured the handsome hero who was the first man in space as he prepared for lift-off, the spacey Sovietwave mood over 13 tracks made for an enticing listen. The sparkling sparseness of ‘Eternity’ with its stuttering vintage drum machine provided another highlight.

Available on the album ‘Alconaut’ via https://claat.bandcamp.com/album/

https://www.instagram.com/kletwave/

LEATHERS Reckless

LEATHERS is the more synth focussed solo project from ACTORS keyboardist Shannon Hemmett. The undoubted highlight of her debut ‘Reckless’ EP was the title song. Resigned and accepting, she was still alluring in her voicing despite the heartbreak of her love being so cruel and dangerous. A rather lovely slice of synthpop in that classic melancholic vein with an infectious steadfast motorik beat, it again showed that Canada again was leading the way in the modern version of the form.

Available on the EP ‘Reckless’ via Artoffact Records

https://www.leatherstheband.com/

CATHERINE MOAN Drop It!

Following her charming cover of the Alan Wilder penned DEPECHE MODE B-side ‘Fools’, Philadelphian songstress Catherine Moan launched her debut album with the self-composed ‘Drop It!’, a song craving the joy of nightlife. Dreamily floating over a classic four chord progression with an eerily sombre apocalyptic understatement, ‘Drop It!’ channelled her innocent sound in the manner of ELECTRIC YOUTH meeting STRAWBERRY SWITCHBLADE and MARSHEAUX.

Available on the album ‘Chain Reaction’ via https://catherinemoan.bandcamp.com/album/chain-reaction-2

https://www.facebook.com/Catherine-Moan-105421111625150

KARIN MY Loop

While Karin My has been working with TWICE A MAN and MACHINISTA, it was only in 2019 that she stepped out to front her own traditionally derived electronic songs. A steadfast drum machine propels ‘Loop’ over its sweeping symphonic melodies resignation. The closing female computer speech declaring “identification – procedure – quote – hyphen – perform – display – go to – loop – full stop – execute” added to the  unsettlement.

Available on the album ‘Silence Amygdala’ via Ad Inexplorata

http://www.karinmy.net/

NATION OF LANGUAGE This Fractured Mind

Using a rigid motorik backbone and capturing a danceable ethereal shudder, ‘This Fractured Mind’ breathed new life via its sprightly synth tones referencing the past. The machines that had only been friends previously became family in the NATION OF LANGUAGE sound. Dealing with the spectre of unrealised dreams and jealousy towards more successful others, any inferiority complex was countered with hopeful acceptance.

Available on the album ‘A Way Forward’ via Play It Again Sam

https://www.nationoflanguage.com/

NORTHERN LITE Ich Fürchte Nein

The project of Andreas Kubat and Sebastian Bohn, the 2001 NORTHERN LITE single ‘Treat Me Better’ was a cult favourite on the electroclash scene. Translating as “I don‘t think so…”, Kubat reflected on enforced isolation and staying sane. In a chorus that could be roughly interpreted: “You can‘t be happy and by liked by everyone at the same time”, ‘Ich Fürchte Nein’ was a delightfully catchy synthpop tune with a bright and jolly melodic section contrasted by a vocal of a more anxious disposition.

Available on the album ‘Ja’ via UnaMusic

https://www.northernlite.de/

GARY NUMAN The Chosen

While ‘Savage’ depicted a deserted post-apocalyptic world, clad in darkness, the Ade Fenton produced ‘Intruder’ saw Planet Earth react to human kind’s misdemeanours by unleashing a virus! “It feels betrayed, hurt and ravaged. Disillusioned and heartbroken it is now fighting back” said Gary Numan poignantly.  ‘The Chosen’ was fast paced synth rock filled with pleading messages embroiled in frustration, asking “Do you need one more sign?” and “Can you see, or are you so blind?”

Available on the album ‘Intruder’ via BMG

https://garynuman.com/

MARK REEDER & FIFI RONG Figure Of 8

Mark Reeder first met Fifi Rong who at the Berlin Kraftwerk in 2016 when she was singing in concert with Swiss trailblazers YELLO. From his album ‘Subversiv-Dekadent’ , the opening track ‘Figure of 8’ was a magical new collaboration between the two with a cinematic backdrop of sparse piano and glistening sequences over which the exquisite Chinese songstress added her distinctive air of mystery to a more metronomic rhythm construction than on her own work.

Available on the album ‘Subversiv-Dekadent’ via MFS

https://fifirong.com/

https://mfsberlin.com/

R. MISSING Crimeless

New York City-based darklings R. MISSING are fronted by Sharon Shy, a vocalist with an elegant Jane Birkin-like presence while the studious Toppy Frost does the music. In their increasingly synthy sound, but the wonderful ‘Crimeless’ was R. MISSING’s most pop noir statement yet. It was like CHROMATICS carefully reconfigured for the dancefloor with Sharon Shy presenting a whispery singing style that could easily be mistaken for Ruth Radelet.

Available on the single ‘Crimeless’ via Sugarcane Recordings

https://rmissing.com/

SCHÖNHEIT Danse Du Robot

Subtitled ‘Hommage à Florian’, ‘Danse Du Robot’ was a magical tribute to the late KRAFTWERK co-founder with hints of ‘Trans Europe Express’ from Swedish producer Martin Lillberg, the man behind SCHÖNHEIT. Not exactly a prolific project with singles in 2014 and 2019, Lillberg however records under various monikers including as DEOLETUS and WML as well as holding down a day job as a classical percussionist.

Available on the single ‘Danse du Robot (Hommage à Florian)’

https://swedishelectroscene.bandcamp.com/track/danse-du-robot-hommage-florian

SEA FEVER De Facto

SEA FEVER are the new eclectic Manchester combo featuring second generation members of SECTION 25 and NEW ORDER, Beth Cassidy, Tom Chapman and Phil Cunningham. ‘De Facto’ was a delightful electro-disco feast with a rhythm rush that screamed strobelights and likely to fill indie club dancefloors while crossing over to lovers of synth. With echoes of NEW ORDER and THE CHEMICAL BROTHERS, it captured a vibrant energy worthy of Manchester and its musical heritage.

Available on the album ‘Folding Lines’ via Kartel Records

https://seafeverband.com/

UNIFY SEPARATE Embrace The Fear

As the prospect of interacting with others again set off anxieties after 18 months of social distancing, for Scottish Swedish duo UNIFY SEPARATE, it was time to ‘Embrace The Fear’. While the theme was relatable to lockdown, the lyrical gist touched on the more general existential crises that afflict many as they navigate a life crossroads. But despite the air of unease and the grittier disposition, as with most of UNIFY SEPARATE’s output, there was light at the end of the tunnel.

Available on the single ‘Embrace The Fear’ via https://unifyseparate.bandcamp.com/track/embrace-the-fear

https://www.facebook.com/usmusicspace

WAVESHAPER Lost In The Cloud

Gorgeously melodic within a claustrophobic drama, ‘Lost In The Cloud’ did as the title suggested like Vangelis meeting Giorgio Moroder at the Necropolis on a dreamy dance trip. A lovely uplifting synth instrumental, the man behind WAVESHAPER Tom Andersson suggested something darker, saying “Imagine Red Riding Hood trapped in the Digital Cloud, behind the Mainframe. How would she feel? What would she see? There is probably more to fear than a wolf in the forest…”

Available on the album ‘Mainframe’ via Waveshaper Music Production

https://www.facebook.com/Waveshaperofficial

A selection of ELECTRICITYCLUB.CO.UK’s favourite music in 2021 is on its ‘Missing U’ playlist

Text by Chi Ming Lai
11th December 2021

MARILLION Interview

30 November 2020 /

MARILLION have seen ‘The Light At The End Of The Tunnel’! In these long dark days of recent times, the prog veterans hope to shed some light across the stages of Britain with a 10-date tour in November 2021 culminating in 2 nights in London.

Presently, MARILLION comprise of Steve Hogarth (lead vocals, keyboards + percussion), Steve Rothery (guitars), Pete Trewavas (bass + guitar), Mark Kelly (keyboards) and Ian Mosley (drums + percussion).

For many years now, MARILLION have enjoyed a unique relationship with their fanbase and together they pioneered the concept of crowdfunding in music via the sponsorship of an American tour in 1996.

Despite a difficult 2020 for all, MARILLION united with their family of faithful fans for the online Couch Convention weekend in September which raised £31,530 for their crew who have been hard hit financially by the pandemic.

Of the weekend, Mark Kelly said: “What a weekend it was! We were totally stunned and knocked out by everyone’s involvement in everything that went on, from Steve Rothery’s late night cocktails to Pete’s Bass Masterclass. Ian’s Drum Q&A and my early morning fun run and all the music, chat and fancy dress in between. It was fun for us to be in the audience, too, reading and reacting to all your comments as the shows were streamed. The crew tip-jar was overflowing with your generosity, you raised a substantial sum for our wonderful crew. The money will go a long way to helping them survive a difficult year. Thank you!”

Mark Kelly kindly took time out from recording the new MARILLION album to talk about the use of keyboard technology in the band, being crowdfunding trailblazers and the modern day streaming business model among many other topics.

Thanks for taking time out of what I am sure is still a busy schedule to chat with us today…

No problem, I was hoping to home by now but I’m stuck in traffic on my way back from the studio.

Is that working on ‘Marathon’ (Mark’s forthcoming solo project) or MARILLION material?

‘Marathon’ is finished, this is for the next MARILLION album… Number 20! Funnily enough on the tour next year we play the Cambridge Corn Exchange almost 40 years to the day of my first gig with the band, in the same town.

I’ve been a fan all that time and it doesn’t feel like 40 years…

You’re right, it doesn’t feel like 40 years at all. You hear older people say time flies by and now I know where they are coming from.

Folk coming to this interview may wonder why we are speaking with you, but there is crossover between what you do and our usual fare, Vince Clarke for example is a GENESIS fan…

Funny you should say that, I was reading an article on one of the sites like TechRadar and they listed the Top 30 synth players and Vince Clarke was number 5 or 6 which surprised me. But thinking about it, there is a lot of crossover with the electronic stuff like TANGERINE DREAM and KRAFTWERK which is very much in the prog genre… Krautrock… the early days of synthesiser music and progressive rock were both experimental

So how are you all surviving the lockdown?

We’ve had a pretty good year by luck more than anything as we had already decided we weren’t going to tour this year. All we had in the book was ‘Cruise To The Edge’ which got cancelled back in April. So we didn’t need to change our plans much at all and for me it gave me the chance to do a solo album as we were in lockdown for 3 or 4 months.

We had just started work on the MARILLION album and had to stop. We are back in the studio now having resumed work on the album at the end of the summer. We are at that stage now where we’ve done a lot of jamming, have quite a lot of ideas and just need to get them past the arranging stage really. We are quite slow these days, we will jam then take those and jam around them again, working on the ideas we like to see what comes out and eventually they start to take shape as songs and that’s where we are at now.

We have 20 or 30 pieces, some lyrics and I’ll be optimistic and say by early next year we will have an album ready to record.

That’s great news both that you are busy and all keeping well. Moving on can you give us a recap of Mark Kelly, the early years?

I never saw being in a rock band as a viable career opportunity, it was something I did for fun playing on the local pub circuit. The guys I played with didn’t take it that seriously. I’d been an art student then switched to electronics as I wasn’t really enjoying the art stuff.

MARILLION were the opening act for the band I was playing for, Mick Pointer (the then-drummer) and Fish came up to me and asked if I fancied joining MARILLION.

I didn’t really know who they were and only watched them because our guitarist said “you should watch this lot, you’ll like them” and that was my start at becoming a professional musician.

It’s interesting as the documentary on the ‘Script For A Jester’s Tear’, MARILLION’s 1983 debut album boxset shows you as having, as a band, quite a drive and determination to succeed?

That was one of the things that attracted me to MARILLION was how serious they were about it all. Everyone back then talked about making it and back then, that meant as far as we were concerned getting a record contract with a major label.

Everyone was laser focussed on it, it wasn’t a hobby. We turned professional and that meant giving up any job you had and signing on the dole. Making a living back then as a gigging musician was hard, God it’s much harder now, and we actually did manage to feed ourselves.

We would play 5 or 6 nights a week in pubs and you would get paid 100 quid which I suppose wasn’t bad, it was a slog though we were determined.

The ‘Script…’ album… I joined at the end of ‘81 and we had signed within a year and were recording the album by Christmas 82. At the time, it didn’t seem to happen that quickly but looking back it did.

The great thing about the early days of MARILLION was wherever we went, we picked up new fans. There was a real buzz about the band at grassroots level where there wasn’t much from the mainstream press. We had a session on the Friday Rock Show and Sounds wrote about us but we weren’t cool enough for Melody Maker and NME!

So looking back it did happen pretty quickly, we were selling out Hammersmith Odeon by the time the first album came out…

I remember back in the day looking at that very prog thing of listing all the keyboards that you used on the album credits…

That’s funny cos as a kid, I remember pouring over the sleeve of ‘The Six Wives of Henry VIII’ by Rick Wakeman and the bird’s eye view looking down at all the keyboards that were labelled. Of course there was no internet, so you had to look things up in the library or rely on keyboard magazines. I think I was just trying to emulate my heroes, they all listed what they played so we did the same…

The equipment you used was pretty much top of the want list for the period. I have often thought, did you hire it in or how did the band feel about you blowing the entire advance on a new keyboard rig?

I was thinking about this the other day and I was lucky. The A&R guy at EMI, Hugh Stanley-Clarke, was a real keyboard fan and he also represented Thomas Dolby and he said “you’ve got to get an Emulator and you have to get a PPG 2.2” and these were really expensive.

To give you an idea, the PPG was about £6000 and the Emulator about 5, so that’s £11,000 on 2 keyboards. Around the same time, I bought my first house and that was £23,000! And those weren’t the most expensive if you think about, something like the Fairlight which was £30,000 or… what was that thing Keith Emerson played, the Yamaha GS1 that was about the same price!

You had a Jupiter 8 as well?

I loved my Jupiter 8, that was what another £3000…

So most of the advance went up on A-frames next to you on stage?

You’re not far wrong actually. We bought a drum kit and some amps, but I spent about 15 grand on keyboards so I was lucky. At the time, we got the money and bought the gear.

Advances in that technology was going leaps and bounds at the time and you were probably one of the last people to record an album before MIDI came in. I think you had the DX7 the next album, ‘Fugazi’?

I think I got that just after that. Folk were buying things like the DX7 but you couldn’t really do anything with it. It wasn’t until I bought a Juno 106 and could link that and the DX7 together with a MIDI cable to stack the sounds, it was then you could say, my God listen to this. The opening bars of ‘Misplaced Childhood’ are the sound of the DX and the Juno together. At the time it was groundbreaking.

I had a Commodore 64 computer and a guy at Hansa Studios in Berlin where we recorded ‘Misplaced Childhood’ showed me a box you plugged into the back of it. It was a Steinberg 16 track sequencer, the box had MIDI In and Out and you could record stuff and play it back. It was really basic, but at the time it was amazing to be able to do that.

With the technology, did you feel you needed to keep up with things like sampling?

I loved it, it was a great time to be getting into keyboards, at that time there was a lot of great things happening with the technology. There was a shit period in keyboard development…

The early analog stuff of the 70s and those early polyphonic synths like the Prophet 5 and the Jupiter was great through to the late 80s with iconic keyboards like the Korg M1 and the Roland D50, then in the 90s there were a lot of sampling keyboards that weren’t that good.

Then you had all the VST instruments that weren’t all that good either, but now a lot of those are really nice and you can get lots of interesting sounds. It’s all a bit too easy now I suppose, a bit like recording…

Do you not find the amount of choice you have in the libraries for these instruments can be counter-productive when you can spend hours just flipping through string sounds?

You’re probably right. I don’t use the software where you can hit a button and it writes for you, gives you chord progressions and stuff. I’ve dabbled with it but the stuff that comes out is great sounding but uninspiring. You have to differentiate between something that sounds good and the actual music you are playing.

For me, I search for sounds that are inspiring and make me be creative in what I play and I feel I am much more prolific these days than I used to be and part of that is having this amazing palette of sounds at your fingertips.

So are you more software or predominantly hardware based these days?

I’m totally VST based these days… the only bit of hardware I have been playing about with recently is I have broken the old Minimoog out for the ‘Marathon’ album and I have been using that with a ribbon controller hooked up to the gate and voltage control and that’s a bit of fun and to be honest that’s it.

I still use the Korg Karma for a few sounds but everything else is in software… if I had to choose one software synthesiser to be stranded on a desert island with, it would be Omnisphere by Spectrasonics. There’s a Bob Moog commemorative sound library that a load of well-known folk like Trent Reznor contributed to for the Moog Foundation and the sounds are lovely, I always go back to them.

There’s a huge amount of fetishism around all that old gear and the majority of people don’t care…

And I don’t think the majority of keyboard players can tell the difference either.

Steve Rothery, MARILLION’s guitarist had bought a modular system and it’s fun to play around with but that’s it…

To make car alarm sounds…

Hahaha! Yeah, I think I am with you on that. Some of the software emulations like Minimoog or Hammond organ or electric piano are great now and even things like acoustic piano which was always hard to get right for example, but the Modartt Pianoteq 6 is spot on, really responsive and nice to play which was always an issue in the past.

So do you have any formal training?

No, it’s one of the things I regret. I didn’t start playing until I was 15 which is very late and it’s always been something I am aware of and a bit embarrassed about. You watch someone like Jordan Rudess playing… I’m not saying I love every note that he plays but his technique is phenomenal. He probably started when he was 3, went to Juilliard etc and I didn’t do any of that and it shows.

I’m not trying to compete with Keith Emerson or Rick Wakeman or Jordan, what I do isn’t that technical really but I try and play to my strengths.

After 40 years, you’ll probably be OK for at least the next album anyway!

Hahaha! I hope so yes!

One of the things I wanted to ask you about that is very related to ELECTRICITYCLUB.CO.UK is your involvement with The Midge Ure All Star Band at the Mandela 70th Birthday concert at Wembley Stadium in 1988. How did that come about?

Midge Ure just called me up, I don’t know where he got my number, and asked me and I was flattered to be asked to play with all these amazing people.

At the age of 26 or whatever I was, to be asked to play in a band with Paul Carrick, Phil Collins, Mark Brzezicki, Mick Karn and Midge with all these superstars was amazing. We had a great time. We only had about 3 days rehearsal and the only stressful time was with Joan Armatrading… Paul didn’t want to sing ‘How Long’ for the umpteenth time and said can I just play keyboards so we worked out what to play between us.

The Joan Armatrading song ‘Love & Affection’ had some strings on it… I turned up at the rehearsals shitting myself as I hadn’t learnt any of the songs and neither had anyone else! We were all having fun, apart from Joan… she turned up after Paul and I had worked out the parts and stopped everything and said “just one keyboard player please” and told Paul to stop playing! So then I had to play both parts and as I say I’m not technically that good and she’s standing over me watching me do it… no pressure! It was all really good fun though, everyone else was great… THE BEE GEES were really nice chaps…

Not sure about the horns on ‘Kayleigh’ though…

Well the David Sandborn Horns were onstage so we had to use them. Phil and Mark has fun on that, they worked out little drum fills into the chorus which were different… Midge winged the guitar solo a bit but as I say, it was great fun.

You are a great advocate and early adopter of the use of the internet and you are recognised as one of the founding fathers of the whole idea of crowdfunding. Are you surprised by how the concept has taken off and developed over the years?

It developed out of necessity really. In 1997, we had a group of fans that wanted us to tour America and I said it wasn’t going to happen. We didn’t have a record deal and we would always lose money when we went to the States. One of the fans said “why don’t we create a tour fund and folk can donate money and then you can come and tour?”

It was incredible really, this wasn’t crowdfunding as we know it, it was just people putting money in a bank account, like charity almost. And when we hit the magical figure of $60,000 which is what I said we would need, I plucked the figure out of the air, as we had lost upwards of 100K in the past, they raised the money as we did the tour.

That’s what gave me the idea… if fans are will to spend that money to bring us over on tour and then still have to buy tickets, it shows there was a lot of goodwill towards MARILLION out there.

So when we wanted to do another album, we didn’t have a deal and were free. I said all we need is the money to live and record the album, why don’t we ask the fans to buy it in advance. Maybe surprisingly or maybe not, at the time it was revolutionary. Even the other band members were saying “Are you sure? Won’t the fans expect to have a say in what gets recorded and put on the record” as no one had done it before and we didn’t know if fans would actually put their hands in their pockets and pay upfront.

It was looking back such an obvious idea because of the internet and email and the fact you can reach out to people so easily and update them so readily, so it’s time had come and for us with the fans being so supportive, it wouldn’t have been something every band could have pulled off at that stage in their career.

I think it became something that some folk looked as an easy way to make money…

Yes and it wasn’t just the bands, the platforms that were set up to do it too. We went through Pledge Music for the last MARILLION album and after we had finished, they went out of business a few months owing lots of people lots of money! I think you’re right a lot of bands looked at it as a way to make easy money, but you have to do it with the right intentions. You have to show your audience appreciation for what they are doing for you, it’s not free money. It’s a collaboration, they are involved.

You are very good at that as a band and having a relationship with your fans…

We were lucky as we had had many years of doing that, being available and chatting with the fans. We used to do that right back in the early days on the first big tours, we would stay behind after shows and meet with the fans. Of course, word got round we did this and eventually the audience would stay behind in the venue and it would take hours to sign stuff, get a picture or whatever but you’d end up having 500 or so folk staying back, so we had to knock it on the head!

We used to like it as you would get to see the girls in the audience close up!

There were girls in the early MARILLION audiences, I don’t remember that!!!

Well if you have 500 folk, you might get 50 girls! So if there was a good looking one, there was a signal word where the tour manager would go and invite them to the after show party. But he got the signal word mixed up, and it was Fish that then came up with this one ‘Dodo’…

He thought that meant time to go, clear the room… the signal for stop without saying stop. So this good looking girl is there, Fish says “Dodo” and the next thing he is say “right everybody out” and we are like, what’s happening?!?

He says “Fish gave the signal” and he was like “no I didn’t you f*cking Dodo!’”

You are also to your credit heavily involved in the field of artist rights via FAC (Featured Artists Coalition) and PPL. Is this more important now that ever?

Yes, I think it’s necessary really. I don’t really do as much for FAC these days as it’s hard to find the time to do everything, though I am still on the board of PPL. I’m up for re-election soon and I have been doing it for 11 years now so maybe I will get voted off!

I think these days, people are much more aware of how artists make a living or don’t make a living and the issues around streaming services like Spotify.

I have a love / hate relationship with Spotify. I love it as a punter being able to just dive in and check stuff out if someone mentions a band. I am also aware however that it pays so little money unless you are up in the stratosphere which very few artists are there is nothing in it really, it’s just a promotion tool

Do you think there will ever be a balance struck?

It simply comes down to, unsurprisingly, that the labels are keep as much of the money as possible. They pay artists royalties based on old deal structures when they, the labels, had all those overheads, manufacturing, shipping, warehousing and all the rest of it and now they should be paying, at the very least, the artist 50% of what they get, where most are on probably 15 to 20% if that.

The labels are making decent money and many of the artists are not and I hope that at some point in the future things will be more balanced. I don’t think you can blame Spotify, they have never made a profit. They pay the labels a billion dollars a month which sounds like a lot of money, but it’s spread across the entire music industry and most of it never finds its way into the pockets of the songwriters or artists.

How big a risk or otherwise has the decision to put on a tour for next year been?

I think it’s a bit of a risk as we don’t know how things will pan out, but I do think there is a good chance the tour will happen. It is in a year’s time so…

You have a solo album coming out, what does that outlet give you that working with MARILLION doesn’t?

There are quite a few musical ideas I had over the years that never get used and I couldn’t see them ever getting used. The album has a bit more of an early MARILLION feel to it as the band has moved on from that.

I started working with a lyricist who was the person that was pushing me. Then I worked on some musical ideas with my nephew Conal and then we found Ollie who does vocals on the album and he has a great voice. Then because of lockdown, I said to everyone “let’s do this and record our parts at home” that it started taking shape

Do you think had given the album a different feel as you have done things in isolation rather than together in a studio?

The guys that mixed it says it doesn’t sound like it’s been recorded that way, it all hangs together really well, I very pleased with how it’s turned out. When we did finally did meet, some of us for the first time, we had a couple of days in Real World Studios and it sounded like we had been together for months.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Mark Kelly

Special thanks to Sharon Chevin at The Publicity Connection

Mark Kelly’s ‘Marathon’ is released on 27th November 2020 and is available in CD, vinyl and a limited edition CD with a DVD of the album being performed live plus bonus behind the scenes footage direct from http://www.marillion.com/shop/

MARILLION’s ‘The Light At The End Of The Tunnel’ tour dates for November 2021 are as follows:

Hull City Hall (14th November), Edinburgh Usher Hall (15th November), Cardiff St David’s Hall (17th November), Manchester Bridgewater Hall (18th November), Cambridge Corn Exchange (20th November), Birmingham Symphony Hall (21st November), Liverpool Philharmonic Hall (23rd November), Bath Forum (24th November), London Hammersmith Apollo – seated (26th November), London Hammersmith Apollo – standing (27th November)

Tickets available from https://myticket.co.uk/artists/marillion

http://www.marillion.com/

https://www.facebook.com/MarillionOfficial

https://twitter.com/MarillionOnline

https://www.instagram.com/marillionofficial/

https://www.facebook.com/mkmarathon

https://marathonsounds.com/

Text and Interview by Ian Ferguson
30th November 2020

New Europeans: The Legacy of ULTRAVOX

12 September 2020 /

Photo by Brian Griffin

What do John Foxx, Midge Ure, Tony Fennell and Sam Blue all have in common? They have all, at some point, been the lead singer of ULTRAVOX.

While Fennell and Blue are now largely forgotten, having only recorded one album each in ‘Revelation’ and ‘Ingenuity’ respectively, there are endless debates about whether the John Foxx or Midge Ure fronted ULTRAVOX is the valid and definitive one.

Like with the Peter Gabriel or Phil Collins led versions of GENESIS, both have their own sound and different audiences, while there are some who even like both. But whatever, the four piece ULTRAVOX comprising of Warren Cann, Chris Cross, Billy Currie and Midge Ure was undoubtedly the most commercially successful, scoring thirteen Top 30 hit singles in the UK over a period of four and a half years, as well as five Top 10 albums including a greatest hits collection.

How John Foxx departed the ULTRAVOX fold and Midge Ure came to join at the encouragement of Rusty Egan, following the first VISAGE sessions at Genetic Studios that included Billy Currie, is now more than well documented. The new quartet soon embarked on a US club tour in 1979 to test the water with their new material.

The thread between the two line-ups was German producer and engineer Conny Plank; he had offered to finance an album himself, such was his faith in the band. When interest came from Chrysalis Records and an offer of two days free studio time to make demos, ULTRAVOX opted to use their opportunity to complete a fully recorded version of ‘Sleepwalk’. It saw the new line-up of the band beef up their Motorik inclinations with lots of “fun-fun-fun on the autobahn” and Chrysalis duly offered a deal to the quartet.

ULTRAVOX were despatched to RAK Studios in London to record an album which was to be given the title of ‘Torque Point’ before the band and label settled on ‘Vienna’. With Ure’s background in power pop with SLIK and THE RICH KIDS, dynamic catchy choruses were to become a new trademark to go with a greater use of synthesizers, while there was a conscious move to utilise more of Billy Currie’s classical music training via his piano, violin and viola playing.

Released in Summer 1980, one of the key tracks on the ‘Vienna’ album was the robotic spy story of ‘Mr X’ which was voiced by Warren Cann and clearly influenced by KRAFTWERK. With its tight Compurhythm backbone, it was an idea that dated back to the John Foxx-era as its hook was very similar to his ‘Touch & Go’ on ‘Metamatic’ released in early 1980. But ‘Touch & Go’ had been premiered live by ULTRAVOX before Foxx departed.

Another standout was the lengthy instrumental ‘Astradyne’, a glorious statement of intent that was the perfect opener. Under the spell of German acts like LA DÜSSELDORF and RIECHMANN, there was a fantastic interplay between the band and a final celebratory section coming from an unexpected lift.

Billy Currie told ELECTRICITYCLUB.CO.UK in 2012 that “Midge came up with that final section lift taking it out of the long ARP solo. I double it! It is a very good strong keyboard part. I used to say at the time: ‘Only a guitarist could come up with that!’, I meant that as a good thing!”

There were more guitar driven songs too with Ure adopting the chunky flanged sound that had been showcased by his predecessor Robin Simon which blended well with the Minimoog, ARP Odyssey, Oberheim OBX and Yamaha SS30 that were in the ULTRAVOX keyboard armoury. ‘Passing Strangers’ was the hit single that never was while ‘New Europeans’ featured a lyric written by Warren Cann which hit the zeitgeist with a narrative about a young man whose “modern world revolves around the synthesizer’s song”.

Meanwhile ‘All Stood Still’ was verging on heavy metal in the vein of THIN LIZZY, perhaps unsurprising given Ure’s time as a stand-in-guitarist for Phil Lynott’s combo when Gary Moore went AWOL before their US tour with JOURNEY; it was this link that led to THIN LIZZY’s managers Chris O’Donnell and Chris Morrison looking after the business interests of ULTRAVOX. Complete with thundering Moog bass, powerhouse drums and Jimi Hendrix impressions using an ARP Odyssey, ‘All Stood Still’ rocked so much that many listeners were unaware it was a tune about a nuclear holocaust…

Sandwiched between ‘New Europeans’ and ‘Passing Strangers’, ‘Private Lives’ was like a less frantic amalgam of the two but if the ‘Vienna’ album had an under rated track, then it was ‘Western Promise’. Relevant today in light of questions about the British Empire’s past role in colonisation, slavery and genocide, the mighty tune used the Far East as its location with a distorted Ure ranting “Oh mystical East, you’ve lost your way, your rising sun shall rise again. My Western world gives out her hand, a victor’s help to your fallen land” like some totalitarian dictator…

But the tune which the wider public remembered most was the title track. When Conny Plank heard the demo of ‘Vienna’, he imagined an old man at a piano in a desolate theatre who had been playing the same tune for forty years. And when Billy Currie came to record his ivory parts, that was exactly the feel which Plank had engineered for the now iconic track. As for the Roland CR78 Compurythm intro, Warren Cann told ELECTRICITYCLUB.CO.UK that it was perhaps his proudest moment when he presented his idea to the rest of the band and went “How about this?”.

With the ‘Vienna’ reaching No2 as a single and No3 as an album in the UK charts, ULTRAVOX were getting the success they deserved. But for the follow-up ‘Rage In Eden’, they adopted a completely different approach. Whereas lyrically, a fair portion of the lyrics had been written by Cann, this now shifted primarily to Ure.

Although the ‘Vienna’ album had been written and played live before recording, the band decided to decamp to Conny Plank’s residential countryside studio with no material pre-prepared. Living in each other’s pockets for three months, the sessions were tense and that impression came across in the music. Released in Autumn 1981, ‘Rage In Eden’ began with the optimistic spark of ‘The Voice’ and possessed the Motorik thrust of NEU! while maintaining some marvellous symphonic pomp.

Photo by Brian Griffin

Creative tensions that had now emerged between Ure and Cross on one side, and Currie on the other who responded with his magnificent middle eight ARP Odyssey solo and a very proud ivory run. But aside from that, ‘Rage In Eden’ was a paranoia ridden affair. However, many of its tracks were mighty.

Chris Cross’ trademark triggered Minimoog bass synth came to the fore on tracks like ‘We Stand Alone’ and ‘I Remember (Death In The Afternoon)’ with Billy Currie working more with the Oberheim OBX for his soloing, although neither was a particularly cheerful affair. In between, there was the tape experimentation of the title track which used the chorus of ‘I Remember’ played backwards to give an eerie Arabic toned “noonretfa eht ni htaed… rebmemer i ho” vocal effect.

Also making a prominent appearance was the Linn LM-1 Drum Computer, a machine that used digital samples for its sounds which Warren Cann acquired, fascinated with furthering the possibilities of programmed percussion that had been opened up. Speaking to ELECTRICITYCLUB.CO.UK in 2010, he surmised that “Drum machines lent a new dimension to music on two fronts; one, the hypnotic element given by perfect unwavering tempo, and two, the ability to endlessly layer, edit, and re-edit rhythm tracks.”

‘The Thin Wall’ dramatically merged synthesizers, guitar, piano, violin and Linn Drum for a formidable yet under rated hit single, but then the album entered a dense phase of indulgence with the deeply rhythmic but overlong ‘Stranger Within’ and the meandering ‘Ascent On Youth’. The melancholic interlude ‘The Ascent’ provided some relief despite its intensity before the haunting conclusion with the sparse mental breakdown of ‘Your Name (Has Slipped My Mind Again)’.

Not as accessible as ‘Vienna’, only two singles were lifted from ‘Rage In Eden’ whereas its predecessor had four; ‘Rage In Eden’ was ambitious and loosely conceptual but it may have been too much for some, including the band.

So for 1982’s ‘Quartet’ album, ULTRAVOX worked with George Martin, most notable for his work with THE BEATLES. The sound was brighter, more structured and stripped of the density that had characterised the albums with Conny Plank, perhaps coinciding with the use of more digital hardware like the PPG Wave 2.2 and Emulator.

The catchy ‘Reap The Wild Wind’ opened proceedings with an immediacy that was less angular and experimental that anything on ‘Vienna’ or ‘Rage In Eden’ although this poppier approach may have alienated any John Foxx-era fans that had stuck it out into the Ure-era.

However, the quasi-religious pomp of ‘Hymn’ had the anthemic thrust of the previous two albums and in ‘Visions in Blue’, ‘Quartet’ had its own ‘Vienna’ but aside from those, ‘Mine For Life’ and ‘Serenade’, overall it was something of a disappointment. While the mighty motorik attack of ‘The Song (We Go)’ offered some percussive edge, the middle second side trio of ‘When The Scream Subsides’, ‘We Came To Dance’ and ‘Cut & Run’ proved lacking in the delivery of their verses despite strong choruses.

‘Quartet’ had been a big budget effort with recording in George Martin’s Air Studios in London and Monserrat plus a tour with a huge grey gothic stage set to support it, as documented in the ‘Monument’ concert film and soundtrack.

By this time, ULTRAVOX took out a huge amount of equipment live which caused many logistical headaches. There were nearly thirty keyboards and electronic gadgets on stage including ARP Odysseys, Minimoogs, PPGs, Emulators, Oberheims and assorted Yamaha keyboards including the CP70 electric grand piano which could take up to three hours to tune in soundcheck! Then there was Warren Cann’s infamous percussion console ‘The Iron Lung’ which had the Simmons SDSIII, SDSV and SDSVII drum synthesizers, Roland TR77 and CR78 drum machines, a Linn LM-1, a LinnDrum and various effects processors like the Roland Space-Echo.

 

So things became more simplified by ULTRAVOX’s standards for the next album ‘Lament’ released in Spring 1984, with the recording sessions taking place in home studios and self-produced. Largely gone were Billy Currie’s trademark synth solos with the ARP Odyssey although its replacement, the OSCar made a fleeting appearance in that style on the closing song ‘A Friend I Call Desire’. Meanwhile Warren Cann had acquired the MIDI compatible Sequential Drumtraks and there were more obviously programmed rhythm tracks than on previous ULTRAVOX albums while the band seemed quite pleased with their new Yamaha DX7.

But one new keyboard acquisition proved to be a major disappointment in Sequential’s giant Prophet T8. “I got it thinking it would be a competitor to the Yamaha CS80 but the action was always far too heavy” remembered Currie, “It was the only other synth that had a totally polyphonic touch-sensitive keyboard. It was about £4000… a bargain!”

The album contained many varying different styles as the band battled for a clear direction. ‘One Small Day’ was a decisively hands-in-the-air rockist statement in the vein of U2 and SIMPLE MINDS. Meanwhile the brilliant ‘White China’ was a full fat sequencer number about the eventual 1997 handover of British ruled Hong Kong to Red China that developed on NEW ORDER’s ‘Blue Monday’.

Using Far Eastern ethnic influences with a nod towards JAPAN’s ‘Tin Drum’, the title song was an exquisite but obviously mournful ballad. But the album’s highlight was the magnificent ‘Man Of Two Worlds’, an electro Celtic melodrama featuring a haunting female Gaelic vocal from Mae McKenna with doomed romantic novel imagery capturing a feeling of solitude in an unusual mix of synths, programmed Motorik rhythms and manual funk syncopation.

Notably a re-configuring of ‘Sonnenrad’ by NEU! guitarist Michael Rother from his ‘Sterntaler’ album which Conny Plank had produced and given a copy to Billy Currie, ‘Dancing With Tears In My Eyes’ was yet another song about a nuclear holocaust. While it might have been a depressing subject to revive, there was the spectre of ‘Protect & Survive’ when Mutually Assured Destruction lingered in the minds of the population. Released as a single, ‘Dancing With Tears In My Eyes’ reached No3 in the UK singles charts, ULTRAVOX’s biggest hit since ‘Vienna’.

ULTRAVOX had been a consistent singles band but after eleven successive Top30 hits, it seemed as good a time as any to release a greatest hits for the 1984 Christmas market. At the time of release, ‘The Collection’ was novel. Not only did it feature all thirteen Midge Ure-fronted era singles to date, but in ‘Love’s Great Adventure’, it also included a brand new one too.

It was a perfect package that could be played from start to finish, from ‘Dancing With Tears in My Eyes’ to ‘Lament’ via ‘The Thin Wall’, ‘Vienna’, ‘Sleepwalk’, ‘Reap The Wild Wind’ and ‘All Stood Still’.

After four albums in five years, it was time for Cann, Cross, Currie and Ure to take a break, but instead, the ULTRAVOX frontman took a busman’s holiday. There was Band Aid and then a solo career which yielded a UK No1 in 1985 with ‘If I Was’, a song Ure had co-written with Danny Mitchell from the band MESSENGERS who had played support and augmented the live  ULTRAVOX set-up on the previous two tours.

After an appearance at Live Aid, when ULTRAVOX reconvened in 1986 for the making of their next album, the quartet imploded with Warren Cann unceremoniously fired from the band due to musical differences. By now, Cann had more or less given up the notion of live drums while the other three favoured a back-to-basics approach with more live instrumentation.

Despite Conny Plank returning to produce, the resultant ‘U-Vox’ was poor. The title said it all, a band with something missing. The album saw ill-advised excursions into funk, brass and folk with the latter being a rather sombre collaboration with THE CHIEFTAINS about the threat of a nuclear holocaust called ‘All Fall Down’.

Meanwhile most of the other tracks on ‘U-Vox’ were uninspired pieces of rock, with the lame ‘Moon Madness’ being a particular low point. Despite this, there was a genuine highlight in ‘All In One Day’, a magnificent song about ‘Live Aid’ which featured an orchestral arrangement by George Martin. However, after an underwhelming arena tour, ULTRAVOX split. Midge Ure continued his solo career to varying degrees of success while Chris Cross left music to become a psychotherapist and Warren Cann moved to Los Angeles.

Meanwhile, Billy Currie made three attempts at reviving the ULTRAVOX name. However, the first one featuring Marcus O’Higgins as singer and a returning Robin Simon on guitar was blocked; when the recordings from these 1989 sessions were finally released as ‘Sinews Of The Soul’ under the name HUMANIA in 2006, the booklet notes saw Billy Currie launch into an almighty tirade against Midge Ure and Chris Morrison who had taken on the role of sole ULTRAVOX manager after Chris O’Donnell moved on. An interview that Currie gave to Beatmag that year was no less frank.

There was now a lot of bad feeling, so any possible future activity involving the four members of the classic ULTRAVOX line-up was now unlikely… or so it seemed. In 2003, Ure was playing a significant amount of ULTRAVOX material on his ‘Sampled Looped & Trigger Happy’ tour.

Then in 2009, the impossible happened and the classic line-up of ULTRAVOX reunited for the ‘Return To Eden’ tour following an offer from Live Nation, who their former manager Chris O’Donnell was now working for. The show went on two triumphant European stints and things went well enough for a new album to be recorded, with writing taking place at Midge Ure’s log cabin retreat near Montreal in Canada.

Co-produced by Stephen J Lipson, the ‘Brilliant’ album’s title song chorused a cautious optimism in a bittersweet comment on pop culture. Meanwhile as the album opener, ‘Live’ came as message of intent like ‘Dancing With Tears In My Eyes’ but without the imminent nuclear holocaust as its superb instrumental breakdown dropped to a magnificent pulsing sequence, piano and lone bass drum reminiscent of LA DÜSSELDORF.

One of the main talking points about the ‘Brilliant’ album was Ure’s voice which now possessed a fragility and honesty only could have come from battle-hardened life experience. But fans were polarised about his use of the Melodyne, an audio pitch modification tool not dissimilar to Auto-Tune. In his defence, Midge Ure told ELECTRICITYCLUB.CO.UK in 2015 about how “it’s a tool and no different from any of the plug-ins that I use when I make music. It’s a bit like saying ‘why do you use reverb on your voice?’… well, it’s because it suits the song and makes it more interesting.”

The excellent ‘Satellite’ recalled former glories and even recycled the violin solo from the album version of ‘The Thin Wall’ while the percolating sequences and rhythmic snap of ‘Rise’ emulated Giorgio Moroder for a 21st Century update of ‘Western Promise’.

 

‘One’ and ‘Remembering’ captured the chromatic romanticism of Europe with its classical influences although the soaring stadium rock pandering of ‘Flow’ was not to everyone’s taste. However, this blip was countered by the whirring ARP Odyssey lines on ‘Change’ which featured some majestic widescreen inflections glossed with beautiful ivory runs bouncing off a shuffling percussive pattern.

Closing with the resignation of ‘Contact’, a sensitive statement about the emotional detachment caused by modern technology, ‘Brilliant’ was a better album than many expected and righted the wrongs of ‘U-Vox’. There was another successful European tour and it looked as though the old wounds between the four had healed.

Then came a surprise run of dates opening for SIMPLE MINDS on the arena leg of their ‘Greatest Hits+’ UK tour at the end of 2013 but after that, it all went quiet. Speaking to ELECTRICITYCLUB.CO.UK, Midge Ure said that “We always said we were never getting back together to take over the world as a band and pretend we were a bunch of teenagers, we all have other things that we do. And we said that if and when something interesting pops up, we would get-together and do it”. But in 2017, Billy Currie made a statement on his website that his tenure with ULTRAVOX was over and even sold his beloved ARP Odyssey MkII on eBay!

Despite this, the legacy of this particular incarnation of ULTRAVOX lives on, with Ure going out on the road in 2019 with his solo band to play the ‘Vienna’ album in its entirety on ‘The ‘1980 Tour’ as a testament to its artistic longevity. And now there is a 40th Anniversary boxed set complete with a new 5.1 surround sound mix by Steven Wilson.

ULTRAVOX also brought the sound of the NEU! axis to a mainstream British audience and even re-exported back to Germany – in acknowledgement, Ure had the music of Michael Rother played before the shows of ‘The 1980 Tour’.

Photo by Chi Ming Lai

Meanwhile, there has also been a substantial and diverse ULTRAVOX legacy within modern popular culture. The Manchester pop duo HURTS effectively played on being TAKE THAT dressed as ULTRAVOX, especially with their single ‘Stay’ and its accompanying promo video. Meanwhile for their quintet reunion album ‘Progress’, TAKE THAT themselves interpolated ‘Vienna’ for a song called ‘Eight Letters’ which resulted in the rather unusual credit “written by Barlow / Donald / Orange / Owen / Williams / Ure / Cross / Cann / Currie”!

But the biggest ULTRAVOX legacy can be found in the stadiums of the world via the Teignmouth rock trio MUSE. It is not difficult to imagine Midge Ure singing ‘Starlight’ while ‘Vienna’ has been borrowed not once but twice, first on ‘Apocalypse Please’ where the middle eight bass synth section was more or less lifted note-for-note while the second time was more obviously with the drum intro to ‘Guiding Light’.

ULTRAVOX were indeed a jigsaw sequence, but no-one could see the end.

‘Vienna’ is released as a 5CD+DVD and 4LP clear vinyl boxed set by Chrysalis Records on 9th October 2020

http://www.ultravox.org.uk/

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Text by Chi Ming Lai
12th September 2020

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