This November sees the release of a box set of ‘Upstairs at Eric’s’, ‘You & Me Both’, an 8 song remix set and some previously unreleased John Peel / David Jensen BBC session tracks.
YAZOO were a candle that burned stunningly bright, only creating two albums before Vince Clarke and Alison Moyet split and went their separate ways.
YAZOO’s gestation started whilst Clarke was still in DEPECHE MODE; the debut single ‘Only You’ was written and offered to Andy Fletcher and Martin Gore but they declined it for the band. Clarke first became aware of Moyet after seeing her sing in THE VANDALS, a band featuring his mate Robert Marlow and a connection was made when he was the only person to answer her Melody Maker ad seeking a “rootsy blues band”. A demo of ‘Only You’ was recorded with Moyet and despite initial reservations from Mute Records boss Daniel Miller, the duo were asked to record a new version for potential single release.
Released on 15th March 1982 with the future US club hit ‘Situation’ on the B-side; the track was a slow burner but eventually climbed to No2 in the UK charts, giving Clarke single success that easily eclipsed his former bandmates in DEPECHE MODE. The performance of the single gave Mute the confidence to allow the duo to record a full-length album which resulted in ‘Upstairs at Eric’s’.
‘Upstairs at Eric’s’, named after a place where Blackwing Studio engineer Eric Radcliffe lived and not as is usually thought the space above the studio, was a stellar jump for Clarke following DEPECHE MODE’s ‘Speak & Spell’ album.
Although there were similarities in sound with Daniel Miller’s recognisable ARP2600 drum sounds were still present and correct, gone were the lightweight/throwaway lyrics and in was a mixture of emotionally charged electronic pop like ‘Don’t Go’ and ’Only You’ with leftfield experimentation such as ‘I Before E Except After C’ and ’In Your Room’. Having recorded ‘Speak & Spell’ at Blackwing, it was the logical choice for Clarke to reconvene there for ‘Upstairs At Eric’s’. But there was an initial hitch; fellow Mute artist FAD GADGET was booked into the main room with Miller, meaning that YAZOO had to work unsociable early morning shifts to accommodate labelmate Frank Tovey.
In an interview with The Quietus, Clarke is quoted as saying that neither he or Moyet really knew what they were doing in the studio and that songs were completed quickly without any unnecessary overdubs or re-works. Listening back to the album now, it is still astonishing how sparse and how few musical elements are present on the tracks.
The fact that ‘Upstairs at Eric’s’ just WORKS is down to the combination of beautifully direct songwriting, carefully programmed interlocking monosynth parts (at this point Clarke was still of the opinion that using chords was a “cop out”!) and Moyet’s incredible voice. In a KRAFTWERK aesthetic, there are no superfluous production elements and the tracks are allowed to breathe and give space to Moyet’s still stunning vocals and Clarke’s synthetic mastery.
A lot of credit for this must also be given to Eric Radcliffe; in interviews Clarke praises the producer’s openness with his studio techniques and commented “if I wanted to run a tape loop around the studio I could!”.
From the single opener ‘Don’t Go’ through to proto-house track ‘Bring Your Love Down (Didn’t I)’, the album showed that soulful vocals and cold electronics could be fitting bedfellows and still remains the measure against which any vocal / synth album should be judged.
Created using relatively minimal equipment like the ARP2600, Sequential Circuits Pro-One, Roland Juno 60, Roland TR808, Roland MC4 / ARP sequencers and a very recognisable Linn LM-1 on ‘Bring Your Love Down’, the album was (at the time) an ambitious piece of work that 36 years later, remains a career peak for both Clarke and Moyet.
Tracks such as ‘Midnight’ and ‘Don’t Go ‘ B-side ‘Winter Kills’ still pack a huge emotional punch and the beautifully understated latter would come as a huge shock for those used to the synthetic cheesiness of some of Clarke’s earlier work (see: ‘What’s Your Name?’).
The spoken word-based ‘I Before E Except After C’ was yet another curveball, featuring Eric Radcliffe’s mum and cut-up vocals by both Clarke and Moyet, it still remains a wonderfully eerie and hypnotising track, despite being very much at odds with the other pieces on the album. Tellingly, the track was maybe deemed a bit too experimental by Mute and was dropped for the first CD release of the album in favour of versions of the more commercial ‘The Other Side of Love’ and ‘Situation’. Highpoints of the album include the era-baiting ‘Goodbye 70s’ and mainly instrumental ‘Too Pieces’; only the telephone-themed love song ‘Bad Connection’ comes across as slightly throwaway, but does at least counterpoint some of the darker-themed songs.
Photo by Deb Danahay
Upon release, the album proved itself to be a huge success on both sides of the Atlantic, hitting No2 in the UK and eventually going on to hit platinum status in the USA. Tracks from ‘Upstairs At Eric’s also latterly got syncs in the spy series ‘The Americans’ with both ‘Don’t Go’ and ‘Only You’ being featured in season 3 when Paige Jennings’ dad buys her the album as a far cooler alternative to a DURAN DURAN one.
As a stop-gap, Mute released the lightweight ‘The Other Side of Love’ as a single before the duo reconvened. Retrospectively, Moyet was less than charitable as to why the song wasn’t performed on the ‘Reconnected’ reunion tour: “We left out stuff that translated less well to live work. Personally I always thought ‘The Other Side of Love’ was a bit w*nk! It is my least favourite track. I didn’t like singing it and Vince was not bothered by it, so we left it out!” – it’s excluded from this retrospective as well.
With Clarke only envisaging the act as a one-album project, it took pressure from his publisher to persuade the duo deliver a follow-up which meant that ‘You & Me Both’ became the second and final YAZOO work. In comparison with its predecessor, there were two major differences in the overall concept of ‘You & Me Both’.
Firstly Clarke’s newly purchased Fairlight CMI (one of two bought for their earlier tour) is all over the album, giving a far more organic sound with marimbas, vibes and brass textures often taking precedence over the trademark synthetic ones. In an early interview with Deb Danahay for the YAZOO Information Service, Clarke confessed that the Fairlight was his “favourite synth”, primarily because “I don’t have to tune it!”.
Secondly, with a couple of exceptions, most of the lyrical content on ‘You & Me Both’ is an icy cold soundtrack to a break-up; the one and only single ‘Nobody’s Diary’ is a gut-wrenching tale; Moyet’s vocal line “…for the times we’ve had I don’t want to be, a page in your diary babe” could easily be directed at Clarke and his now notorious refusal to stick at his musical projects.
The working pattern on the album was more of a 9 to 5 affair, but involved Clarke creating his musical parts in isolation and then Moyet turning up at Blackwing to lay down her vocals without him around. ‘You & Me Both’ remains the only album to have a song fully vocalled by Clarke in ‘Happy People’ which MOYET refused to sing and also contains an early un-recorded Depeche live track ‘Secrets’ which became ‘Unmarked’.
The band announced their split shortly after the release of ‘Nobody’s Diary’ and this resulted in Clarke refusing to be involved with promotion of the album, leaving Moyet to talk to the press alone.
Although the new long player secured the duo a critically acclaimed and deserved No1 album, the lack of tour and promo meant that sales tailed off; ‘You & Me Both’ sold approximately half the units of ‘Upstairs At Eric’s’.
Even the 23 Envelope-designed album cover of two barely visible dalmatians fighting appeared to be a talisman for the sadly doomed musical relationship. Despite the acrimonious dissolution of YAZOO, the sense of their being unfinished business meant that Clarke and Moyet did reconnect for some live performances in 2008 which gave audiences a chance to experience the ‘You & Me Both’ tracks live for the first time.
Finally, a one-off get together at the Mute Short Circuit Festival in 2011 was the last time the duo would appear on the same stage. When asked as to whether this performance would be the band’s ‘last hurrah’, Moyet told ELECTRICITYCLUB.CO.UK: “Never say never, but I would say I doubt it would happen again.That’s more to do with the fact that Vince was married to DEPECHE MODE, he’s married to ERASURE and I’m like that transitional relationship. So it’s almost like when he comes back to perform with me, it’s almost like when he comes back to perform with me, it’s a bit like kinda having a shag for old times’ sake and that doesn’t really work when you’re married!”
So what of the legacy of YAZOO? A musical partnership which appeared an unholy alliance on paper worked out so well that it indelibly changed the face of modern pop music. Before even discussing credible artists which were influenced by Vince and Alison, ‘Only You’ cemented itself as a huge popular favourite with the acapella cover by THE FLYING PICKETS and a hybrid orchestral version (also featured in this package) was used as the soundtrack for the 2017 Boots Christmas advert. It’s almost impossible to imagine artists such as LA ROUX, LADY GAGA, ROBYN or GOLDFRAPP existing without the template that Clarke and Moyet forged and ‘Four Pieces’ provides a welcome opportunity to reassess their impact.
The BBC sessions will be the reason most will invest in this new collection, the versions of songs recorded for John Peel and David Jensen showcase a rawer sound with many alternative synth and drum sounds. The Peel version of ‘Don’t Go’ showcases a completely different lead sound which is a lot less sawtoothy, whilst ‘Midnight’ features an alternative synth arrangement to the one on ‘Upstairs at Eric’s’. The mix of ‘Bring Your Love Down (Didn’t I)’ recorded for Jenson features a contrasting lead melody synth, while ‘Too Pieces’ brings Clarke’s Fairlight to the fore and arguably ‘In Your Room’ excels over the one featured on the original album. Meanwhile, fans of Moyet’s vocals will also enjoy the subtle phrasing differences to those which appeared on the final mixes of the two albums.
Omissions? YAZOO completists would have appreciated the appearance of the duo’s TV work including ‘Get Set’, ‘The Other Side Of The Tracks’, ‘Trak Trix’ and ‘Data Run’ as well as the debut tour interval instrumental ‘Chinese Detectives’ and ‘Nobody’s Diary’ B-side ‘State Farm’, but this would be a minor quibble.
These are classic albums that will never get old, never really date and if you don’t have them in your collection now you have no excuse not to invest in a copy. Absolutely essential.
‘Four Pieces’ is released as a vinyl boxed set by Mute Records, a CD variant entitled ‘Three Pieces’ is also available from on 2nd November 2018
Noted techno exponent Chris Liebing has unveiled a stark new track featuring Mute label mate Polly Scattergood entitled ‘And All Went Dark’.
The brooding minimalist electronic piece basically does what it says on the tin, with an eerily poetic spoken contribution from Miss Scattergood where the Essex songstress is haunted by a “dark shadow on my shoulder” and how “a sickness took hold early on”!
‘And All Went Dark’ is from Liebing’s new album ‘Burn Slow’ to be released by Mute Artists. Daniel Miller has long been an admirer of the Frankfurt-based DJ and the pair shared a stage for a talk at the 2016 ELECTRI_CITY_CONFERENCE in Dusseldörf; the Mute Records supremo had even joked that they would probably want to play exactly the same tracks during their DJ sets at the Time Warp club aftershow.
A striking mood piece ‘Polished Chrome (The Friend Part 1)’ featuring Gary Numan has already acted as early trailer for the album and the ten track opus will also feature vocals from COLD CAVE, ALEEN and Miles Cooper Seaton of folk-influenced experimentalists AKRON / FAMILY,
Liebing has long had a spiritual connection with Mute as a young fan of DEPECHE MODE, YAZOO, DAF, LAIBACH and NITZER EBB, with his recent remixes for DEPECHE MODE’s ‘Going Backwards’ and GOLDFRAPP’s ‘Everything Is Never Enough’ beginning the journey towards ‘Burn Slow’.
‘And All Went Dark’ is from the album ‘Burn Slow’ released by Mute Artists on 7th September 2018
CHRIS LIEBING does an eight-hour all night DJ set at Closer in London’s E1 on 26th August 2018
Documentary Evidence is an unofficial Mute Records website run by freelance music journalist and electronic music fan Mat Smith named after the Mute Records catalogue booklet inserts that came with their releases from 1987. It is described as featuring “Reviews of artists appearing on Mute Records and its various sub-labels”.
But also includes other music writing by Smith. Like many music bloggers, he compiles an end of year Top 10 albums listing and in 2017, he controversially included Taylor Swift’s ‘Reputation’ at No4 above the No6 placed ‘Spirit’ from DEPECHE MODE.
The decision provoked surprise, discussion, amusement and condemnation; how could a respected authority on the legend of Mute Records appear to betray the musical foundations they were built on? However, other commentators were not so surprised and saw it as a sign.
Mat Smith chatted to ELECTRICITYCLUB.CO.UK about why last year, he preferred Taytay over Essex Dave and presented his Documentary Evidence…
What was the motivation and ethos behind establishing the Documentary Evidence website?
I started writing a blog at university in about 1996, even though it wasn’t called a blog back then. That blog focussed on reviews of concerts I’d been to and records I’d bought that week.
I called it Red Elvis Central for reasons that at the time felt important but which now seem silly. I wrote Red Elvis Central until I left uni, at which point anything I’d written up to that point was suddenly lost forever, and I got sucked into a graduate training programme in a non-musical, very sensible career.
I started the Documentary Evidence website in 2003. I distinctly remember it was a Saturday afternoon, I’d had to go into London for work in the morning and my wife was out at her grandmother’s house when I got home. With nothing better to do, I sat myself down in front of my PC, wrote a review of ‘Text Message’ by VIC TWENTY and by the time she came back home that evening, I’d set up a rudimentary HTML website, which I decided would be a place for me to write about Mute releases for nobody’s enjoyment but my own.
When I was scratching around trying to name the site, I raked through my record collection and found my copy of ERASURE’s ‘Chorus’ 12”, which was the first 12” I’d ever bought. In the sleeve was Mute’s Documentary Evidence catalogue pamphlet, which was what got me hooked on collecting Mute releases in the first place, so it seemed like an obvious thing to name the site with.
When I first picked that catalogue up in 1991, I barely recognised any of the groups and artists listed and I barely even knew what a record label was aside from being a logo.
Documentary Evidence switched me on to this notion that there were all these things going on outside of the charts. I also naively assumed that everything released on Mute would sound like ERASURE in some way, which I still laugh at today.
I think I envisaged that writing enthusiastically for my Documentary Evidence website would allow me to perpetually remind myself of how exciting it was setting off on that voyage of musical discovery in the early 90s. The Documentary Evidence website was never intended to attract any attention from anyone else.
For most of my life I’ve wanted to record my thoughts and memories in some capacity, just for my own benefit. It felt like a logical thing to extend that into writing about the music that meant something to me and which I’d spent most of my teenage years and twenties collecting in earnest.
Back in 2003 I don’t think I really appreciated that Mute had a sort of ‘cult’ reputation and that there were other people who’d also become avid collectors of their releases. To this day I find it strange that anyone would have even found my website, let alone actually bothered to read it.
About ten years later I started writing occasional live reviews and features for Clash, and that led to working professionally.
Who are your own personal favourites from the Mute roster, both past and present?
ERASURE are the reason that the Documentary Evidence website exists, and they were the first group I really fell for, so they’ll always be my personal favourite.
My dad brought home a copy of ‘The Innocents’ that a friend from work had recorded for him, sometime in 1988. He walked in and said “Matthew, have you heard of this band, ERASURE?” I’d seen them on Saturday morning TV, had heard them in chart and really liked them, but I didn’t have enough pocket money at that time to buy any music.
I grabbed the cassette off him, rushed upstairs to my bedroom and more or less listened to it non-stop on my Walkman for months after that. I still get a huge surge of emotion every time I hear something new by ERASURE, and I can chart the most important points in my personal life by their music. They’ll always be really special to me.
Right now, I’m really excited about the SHADOWPARTY album that comes out on Mute later this month. SHADOWPARTY includes members of the current NEW ORDER and DEVO line-ups, and their debut album is brilliant, like a time machine into a classic Manchester feel-good sound.
The other artist on the label I’ve been listening to a lot lately is DANIEL BLUMBERG, whose debut solo album ‘Minus’ was released by Mute earlier this year. ‘Minus’ came up out of Dalston’s Café Oto improvisation scene, but that sense of freedom is combined with some truly moving, genuinely profound lyrics. I was fortunate enough to spend some time with Daniel recently and he’s clearly a prodigious talent and probably unmatched in terms of his artistic vision. Being able to get inside the head of a musician and into the story behind an album or piece of music is the greatest privilege of being a music journalist, and spending time with Daniel was undoubtedly one of the highlights of my career.
You’ve established and maintained a good working relationship with Vince Clarke?
I interviewed Vince and ORBITAL’s Paul Hartnoll for Electronic Sound when Vince started his own label, VeryRecords, and launched it with the album ‘2Square’ that he and Paul did together in 2016. VeryRecords is totally his own thing and he tries to do absolutely everything himself, as he’s so personally invested in the label. I really respect that. Richard Evans provides support for the technical side of running the label, but apart from that it’s a fully solo endeavour.
He could get anyone to help with any part of running a small label and just put his name to it, but he doesn’t. It’s his thing, and he’s really enjoying it. I can’t quite remember now whether I volunteered to help put the press releases together for future VeryRecords releases or if he asked me if I’d like to help – we were in bar, and beer was involved – but somehow I ended up working on the materials to support the first REED & CAROLINE album ‘Buchla & Singing’, and the two releases he’s put out since – ALKA’s ‘The Colour Of Terrible Crystal’ and ‘Hello Science’ by REED & CAROLINE.
As a lifelong ERASURE fan, to be able to call Vince my boss is probably the strangest thing that’s ever happened to me. I’m so grateful for this opportunity and for the trust he’s placed in my skills as a writer. I wish I could say the same of everyone I’ve worked for.
What level of DEPECHE MODE fan would you describe yourself as? One of The Black Swarm, plain clothes Devotee or an armchair enthusiast?
I’m definitely not in The Black Swarm, and in fact I didn’t even know what the Swarm was until my photographer friend Andy Sturmey explained it to me a few years ago. I guess I’m probably somewhere in between Devotee and armchair enthusiast if I reluctantly had to pigeonhole myself.
DEPECHE MODE are really important to me, no doubt about it, but I actively detested them when I first became aware of them, which would have been just after ‘Violator’ was released.
In my high school English classes I used to sit next to a girl called Sarah Vann whose folder was covered in photos of Depeche from that time. I just figured they were an Athena poster-friendly boyband because of that.
I also couldn’t get my head around songs like ‘Personal Jesus’ at all, mostly because I was slightly intimidated by guitar music at the time. Later, when I read the Documentary Evidence booklet that made me a Mute collector, and I read about Vince having been in DM at the beginning, I felt really conflicted – I suddenly felt duty-bound to collect their material but didn’t think I’d like their music.
I started with a beaten-up copy of ‘The Singles 81 – 85’ borrowed from Stratford-upon-Avon’s library and tentatively went from there. I guess it was appropriate that the CD came from a library – it proves the old adage that you shouldn’t judge a book by its (Depeche-decorated) cover.
Photo by Mat Smith
Between the ages of 15 and 16, I consumed all of their albums and was a paid-up fan by the time ‘Songs Of Faith & Devotion’ was released. The first concert I ever went to was Depeche at the NEC on 14 December 1993, and I wore a black long-sleeved ‘I Feel You’ t-shirt. I have really fond memories of that show. I still have the programme and the ticket, but I no longer have the t-shirt.
I once spent a whole afternoon sat on my parents’ sofa listening to ‘The Things You Said’ on repeat because my girlfriend had unceremoniously dumped me. Like ERASURE, their music is inextricably bound in with a lot of very vivid memories.
Much, much later I got the chance to interview Dave and Martin for Clash, Dave when he did the last SOULSAVERS LP and Martin for his instrumental album ‘MG’. Perhaps it’s the point they’re both at in their careers, but neither had massive egos, and both came across as appreciative and humble. I like it when people surprise you.
Had it been your intention to feature artists from outside of the Mute family on Documentary Evidence?
I was really pretty purist at the beginning – this was a Mute site, and it was only ever going to be about Mute.
But then again, I started out with a review of the solitary VIC TWENTY single that came out on Credible Sexy Units, a label Daniel Miller formed outside the EMI ownership of Mute for the sole purpose of releasing that one single in 2003, so I was always bending my own rules from the off.
After a while I found myself writing more about musicians that had been on the label and who had then gone off to do different things, or people who were clearly influenced by Mute, or producers who had worked with Mute, or releases by Mute artists but that were released on other labels – tangents, basically, especially with Blast First artists.
Then people started sending me their music, saying they liked my site and asking me if I’d review them. When you’re starting out, the generous act of people wanting to send you the music they’ve laboured over is a really persuasive thing, and to the best of my knowledge I never turned anyone down.
I guess it just all got very restrictive after a while, the idea of only writing about Mute when there’s so much more music out there, but to this day I honestly think of Mute as being a lot like my musical spine – it’s at the centre of everything, and I can always form a connection back to that central core, no matter what it is I’m listening to.
Photo by Mat Smith
Pretty much every music I’ve gotten into can be traced back, in some way, to Mute and that original Documentary Evidence booklet. Even something like jazz, which I really love now, can be traced back to seeing the name SUN RA as a Blast First artist. It made sense to me that my entry point into jazz would come through SUN RA rather than a more conventional, obvious route.
I guess at some point I decided to start writing about some of those non-Mute things with as much passion and enthusiasm as the Mute stuff, but I wouldn’t be doing any of that if it wasn’t for Mute.
When I became a ‘proper’ music journalist, whatever that is, it would have been really restrictive just writing about Mute. I’m still normally the first in line enthusiastically pitching a Mute release when a new review section gets commissioned, but I get to cover all sorts of weird and wonderful things, most of which aren’t anything to do with Mute, and I absolutely love that.
Controversially in the Documentary Evidence Top 10 Albums of 2017, you placed DEPECHE MODE’s ‘Spirit’ at No6 but ahead of it was ‘Reputation’ by Taylor Swift at No4? Please explain… 😉
I do find it amusing that this would be regarded as remotely controversial. It’s only the second year that I’ve done an end of year countdown, and I’m not sure I’d do it again! When I was putting it all together, there were certain albums I knew had to be in there – ‘Reputation’ was always going to be high up in the rankings – but after getting five or six together, I really struggled. It was only when I looked back at what I’d written about that year that I even realised that ‘Spirit’ had been released in 2017, because it felt like it had come out ages before.
Photo by Chi Ming Lai
It wasn’t that ‘Spirit’ was in any way a forgettable album, as my review for Clash was incredibly positive. I even found myself indulging in a bit of journalistic hyperbole when I compared parts of it to Marvin Gaye’s ‘What’s Going On’, which rubbed a lot of people up the wrong way.
I maintain that it’s a good album – great even. It showed a new side to DEPECHE MODE, one that initially jarred with me, but it was one that I ultimately respected.
I haven’t listened to it once since I assembled that year-end countdown, but I rarely get a chance to listen to albums over and over after I’ve reviewed them these days anyway. You’re more or less always moving onto something else as soon as you’ve filed the review copy.
You shouldn’t view me placing ‘Reputation’ higher than ‘Spirit’ as indicating that I think Taylor Swift is better than DEPECHE MODE; it just means that ‘Reputation’ means more to me. Documentary Evidence was always intended as a personal website, where everything I wrote was essentially my own subjective view. People are free to disagree with what I write, and frequently do, especially it would seem if I’m writing about DEPECHE MODE. I was roundly slated for giving Jeremy Deller and Nick Abrahams’ ‘The Posters Came From The Walls’ the positive review that I felt it deserved, and I’ve developed a thick skin about people’s views.
Photo by Chi Ming Lai
The point with Taylor Swift is that her music means a lot to our family. We have two daughters, ages 12 and 10, and as parents we’re acutely aware of the need for girls to grow up with positive, empowering female role models. Taylor Swift is the epitome of that.
She’ll go down in history as a great pop musician and songwriter but also as the one who – by suing that radio DJ for a buck – did more to highlight the gross inequalities and power abuses in the entertainment industry than anyone else.
But she also makes great music. We listen to Taylor Swift on roadtrips all the time and her music brings us closer together as a family. It’s that simple. Debating whether ‘I Knew You Were Trouble’ is better than ‘We Are Never Ever Getting Back Together’ is a nice way to spend a drive around Cornwall, for example. It sure beats arguing.
The four of us going to see her at Wembley last month was among the best evenings out we’ve had as a family. We all wore Taylor Swift shirts, all sang every song at the top of our lungs and I’d rank it as one of best concerts I’ve ever been to, unashamedly. For me, and plenty of other people, ‘Reputation’ is a bold, multi-hued album that works as both social criticism and fucking great pop music.
What also amused me about people decrying this so-called music journalist snob putting Taylor Swift in his top ten is that not one DEPECHE MODE fan moaned about me ranking ERASURE higher than ‘Spirit’, or sticking a Ryan Adams record above it, or choosing an electronic jazz fusion LP by James Holden as the best thing I heard in 2017! And ‘Spirit’ getting into the top ten, when I conservatively wrote between 80 and 100 reviews last year, is still a pretty big deal.
But Taylor Swift surely doesn’t have any links to Mute… or does she? 😉
It’s slightly tenuous, but there is a link. Jack Antonoff from BLEACHERS, co-wrote and produced two songs on ‘1989’ and six on ‘Reputation’. Vince Clarke worked with Jack on the first BLEACHERS album, and I think the big, anthemic pop that BLEACHERS make has definitely rubbed off on some of the recent mixes that Vince has done. You can hear some of it in the last ERASURE record, ‘World Be Gone’, too.
Jack’s style is extremely distinctive, but very natural. Some people have to work hard at creating these huge, stadium-friendly, euphoric songs, but it’s like it runs in his veins or something. I knew which songs were his on ‘Reputation’ before I even looked at the credits.
So, yeah, if you squint a little and are happy that it’s an indirect connection, there is one. But I didn’t need one to justify enjoying Taylor Swift’s music – just the look on my girls’ faces when they were dancing round our lounge to ‘1989’ when they got it for Christmas 2014 was justification enough.
Photo by Mat Smith
ELECTRICITYCLUB.CO.UK saw this positioning of Taylor Swift above DEPECHE MODE by a respected Mute Records commentator as oblique symbolism for DM’s current artistic decline…
It certainly wasn’t intended that way. As I said before, I really liked ‘Spirit’, and I really liked its predecessor ‘Delta Machine’, which I awarded eight out of ten in a review I wrote for Clash. I wonder whether people have unrealistic expectations of what DEPECHE MODE should be doing today.
They’ve been going for nearly forty years and sit on top of a back catalogue containing some incredible moments, and those moments are going to be part of a personal soundtrack to significant events, whereas as we get older we don’t accumulate as many of those things.
Most artists that have been going this long are valued not for what they’re doing today but what they’ve done before, and any new material is just a catalyst for getting back out on the road and playing the hits.
The best example of this is THE ROLLING STONES – they’ve consistently released new material, but it’s generally regarded as second-rate compared to the album’s they released in their first two decades.
Anyone going to a Stones show doesn’t want a set filled with the new stuff – they pay for the hits. I know that fans have moaned about the recent Depeche festival shows not containing enough of their big songs, and I would say that’s probably fair. I don’t think they can hide behind being inexperienced with festivals, as a glance at any other band’s setlist would have provided ample evidence of the rules.
But I do think the fact that Depeche are still trying to do different things – the overt political reference points of ‘Spirit’ or the pronounced bluesiness of ‘Delta Machine’, as examples – shows that they still have a creative spark beyond just rehashing ‘World In My Eyes’ all over again. And if they did that, then people would moan at them for not making any effort. I’m not sure they can win, but it’s not like people aren’t buying their albums or eschewing their shows.
Photo by Simon Helm
At the ‘Mute: A Visual Document’ book launch where there was a live Q&A which included Daniel Miller, it was reported that Anton Corbijn was making made his feelings known publicly about the current direction of DEPECHE MODE? What was your interpretation of what was said?
Honestly, I can’t remember. As the host of that panel discussion, I was too busy making sure I didn’t drop my microphone.
My recollection was that Daniel and Anton were both incredibly positive on Depeche and where they are right now, creatively. These guys are like the fourth and fifth members of that band, as their input into what makes them a band is really important to who they are, what they do, and how it’s presented, and I don’t think that will ever change. If anything, Anton was super positive about how much trust that Dave, Martin and Andy placed in his judgement, and how rare it is to find that these days. I didn’t get the impression that DEPECHE MODE are ignoring his counsel and doing their own thing at all.
That night, I do remember that Daniel said that they’re still a Mute band, even though they’ve left the label. I think that says a lot about how he approaches artists on the label, as well as how much he cares about them; I guess it’s like waving your kids off when they leave home – they’ll always be family. In the same way, Daniel will always be their A&R guy and creative mentor.
Daniel Miller = DM = DEPECHE MODE. That’s a complete coincidence, but it also isn’t.
ELECTRICITYCLUB.CO.UK often likes to highlight a musical connection it has noted between CHVRCHES and Taylor Swift, do you hear it as well in her songs like ‘Out Of The Woods’, ‘Gorgeous’ and even ‘Blank Space’?
It’s not something I’ve noticed especially, but it says a lot about the way we music critics approach very overtly successful music that we can only give a pop artist credibility by comparing it to something a little more underground, or something less popular.
Electronic music has been mainstream for the last forty years and it’s only natural that stuff coming out of the underground would feed into popular music. That’s just how it has always worked, all the way through musical history.
Things start outside of the public eye, in almost cultish micro-scenes, they blossom, become popular, popular acts co-opt them, a new thing comes along and it starts again. If it didn’t, this would all be pretty boring and we’d all still be listening to easy listening music. Is Taylor Swift consciously riffing off CHVRCHES’ ideas? Probably not. Does she have the budget and bankability to attract any producer she wants to work on her record? Absolutely.
Do those producers and her A&R team have their fingers on what’s cool and what’s not? For sure. To me it’s not that surprising.
As far as electronic based artists are concerned, who are the up-and-coming acts that you would rate at the moment?
Electronic music – in its broadest sense – is having one of its most fertile creative periods, from the mainstream to the most avant garde of locales. For example, there’s a German producer called VONICA whose music I’m enjoying right now. He makes this fantastically skewed, very densely-layered music that is umbilically linked to dance music, with all its attendant euphoria and drama, but this slightly off-centre quality. He’s one to watch, for sure.
Elsewhere, I find myself listening to lots and lots of fusion music. Back in the 70s, stuff that fused jazz, electronics and rock together was seen as hugely innovative but over time it became a shorthand for naffness, something that my older self thinks is massively short-sighted as I’ve begun to appreciate things like CHICK COREA’s underrated ‘Return To Forever’. The new groups tackling fusion music are just incredible. James Holden I’ve already mentioned, but there are others like Kamaal Williams and RATGRAVE that manage to create these amazingly fresh pieces of music out of seemingly incompatible reference points.
How do you think Mute had managed to maintain its position as a credible brand in the music industry after so many years?
I think it all comes down to being artist-led. When you’re artist-led you’re prepared to take more risks to allow them the space to realise their creative vision. When Daniel Miller started Mute again as an independent enterprise, I think that’s why he named it Mute Artists.
That’s a very egalitarian, equitable way of approaching running a label – it emphasises that without those artists the label wouldn’t, and couldn’t, exist. That’s not to say that Mute have always just let artists get up to what they want, because I’ve heard that Daniel is a very hands-on guy, even if he’s not in the studio with every artist on the label. However, if you start with the primacy of the artist and are focussed on allowing them to realise their vision in a supported way, you’re probably going to get the best results.
Going back to what I said about his relationship with Depeche above, he evidently cares for his artists, and I personally think that’s ultimately why he sold Mute Records to EMI – faced with seismic changes in the record industry, he deemed that was the best thing for his artists to allow them to stay creative. It wasn’t for commercial gain, but to give his artists some sort of financial stability. I think it came from a fundamentally good, well-meaning place. It wasn’t like he’d decided to disown his kids and start a new family with someone else. You might think of everything released on Mute as songs representing Daniel’s enduring faith and devotion in the artists whose music he elects to release. I can’t see that ever changing.
ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Mat Smith
Best known as a founding member of THROBBING GRISTLE, electronic pioneer Chris Carter releases his first solo album in 17 years.
Together with Cosey Fanni Tutti, Peter Christopherson and Genesis P-Orridge, THROBBING GRISTLE enthralled and irritated audiences with their confrontational performance art. Their tracks such as ‘Hot On Heels Of Love’ were played by Rusty Egan at The Blitz Club, while ‘Discipline’ was later reinterpreted by Marc Almond and an important inspiration for PROPAGANDA.
Despite the quartet’s no compromise experimentation, Carter occasionally unleashed a more accessible side, as the obviously influenced ‘AB/7A’ from ‘DOA: The Third & Final Report of…’ from 1978 proved.
So when he and Cosey Fanni Tutti broke away from THROBBING GRISTLE, in 1983 they released ‘October (Love Song)’, a playful synthpop ditty which was subsequently covered in Greek by MARSHEAUX.
Over a generous helping of 25 tracks, ‘Chemistry Lessons Volume One’ captures Carter’s enthusiasm for the limitless possibilities of science, with more than a nod towards the work of THE RADIOPHONIC WORKSHOP. But this is also an accessible record with perhaps the unexpected influence of English folk music. As Carter put it himself: “some of tracks on the album hark back to an almost ingrained DNA we have for those kinds of melodies. They’re not dissimilar to nursery rhymes in some ways.”
It all begins with the glorious statement of ‘Blissters’, a potential theme tune with hypnotic sequences and sweeping synths, wonderful offset by some detuned counterpoints and haunting skewed vocals chopped up in Carter’s sonic laboratory.
‘Tangerines’ continues proceedings but in an almost disco euphoria fashion although it ends far too soon, while ‘Nineteen 7’ plays with pentatonic melodies over a sharp electro beat. ‘Cernubicua’ plays with the skew vocals again before on ‘Pillars of Wah’, the beautiful chorals are accompanied by dub rhythms and a wah-wahed sub-bass. The pulsating tension of ‘Modularity’ is self-explanatory while the short uptempo blend of deep squelch and modular bleep of ‘Durlin’ is cut from a similar cloth.
But it’s the beautiful spacey ambience of the suitably titled ‘Moon Two’ that provides yet another accessible asset to ‘Chemistry Lessons Volume One’, an approach that is reprised on the equally beautiful if darker ‘Tones Map’ and the rich interlude of ‘Dust & Spiders’
For those who might find some of the more accessible material in the album’s first half a bit too nice, the second half is undoubtedly darker with the unsettling dissonance of ‘Shidreke’ and the galloping rumble of ‘Uysring’ more than suitable for soundtracking moods of anxiety and discomfort; meanwhile ‘Lab Test’, ‘Noise Floor’ and ‘Post Industrial’ do what they say on the tin.
But ‘Rehndim’ springs a blissful surprise with a manipulated female voice that wouldn’t have been out of place on a single by THE BELOVED while things head back into the shade with the sci-fi gloom of ‘Roane’.
‘Time Curious Glows’ recalls early Virgin-era TANGERINE DREAM with a spy drama twist, while the more motorik ‘Ars Vetus’ will please those who enjoy the darker side of ORBITAL.
A diverse and intriguing collection of electronic soundscapes, this record is definitely worth investigating even if Chris Carter’s previous work has never been your thing; there really is something for synth enthusiasts of all persuasions and for that reason alone, ‘Chemistry Lessons Volume One’ is for ELECTRICITYCLUB.CO.UK, the surprise album of 2018 so far.
What do DEPECHE MODE, SOFT CELL, BLANCMANGE and THE THE have in common?
They all appeared on the ‘Some Bizzare Album’ which acted as a springboard for their fame and fortune.
But the silent success story of the ‘Some Bizzare Album’ has to be Paul Statham; while his band B-MOVIE with Steve Hovington, Rick Holliday and Graham Boffey were unable to achieve a foothold in the mainstream like The Big Four, the guitarist later found considerable success as a songwriter and producer.
Working with personalities as varied as Peter Murphy, Jim Kerr, Billy Mackenzie, Dido, Dot Allison, Sarah Nixey, Kylie Minogue, Lisa Scott-Lee, Tina Arena and Rachel Stevens, Statham’s credits also include groups such as THE SATURDAYS and RIGHT SAID FRED.
Statham was also a member of cult electropop trio PEACH with Pascal Gabriel and Lisa Lamb, whose song ‘On My Own’ from their only album ‘Audiopeach’ featured during a key scene in the Gwyneth Paltrow movie ‘Sliding Doors’.
Although B-MOVIE reformed in 2004, Statham has continued his songwriting and production career in parallel. More recently, there has also been his dark country project THE DARK FLOWERS, while he has also been releasing a series of ambient electronic albums, as well as establishing his own label Loki Records.
Paul Statham kindly took time out of his busy schedule to answer some questions about his career outside of B-MOVIE…
What has motivated you to start Loki Records in the current climate?
Well, exactly the words “current climate”! I did approach some leftfield labels, but the response time was tragic! Also as a long standing writer through Warner Chappell, there is always the thought that the song has to be commented on or is specifically ‘aimed’ at something , even going through an experimental label. So setting up my own label means I can go sit in the woods filming the moon all night, then decide that will be the video as it was for the track ‘Who Won’t Wait’! Of course who sees the video is then down to you endlessly trying to put links up!
After years of songwriting, how did this move towards more experimental music come about?
I have been involved in writing or creating pieces of instrumental music since 2002 through an art curator friend Victor De Circasia to run alongside writing more commercial music. My project THE DARK FLOWERS put a small element of experimental into traditional song using backdrops of wind or recorded atmosphere behind tracks, but my favourite album is Brian Eno’s ‘Another Green World’ and also I love reading about his compositional practice.
Your third ambient release is ‘Asylum’, how does this differ in concept from your first two releases of this type ‘Ephemeral’ and ‘Installation Music 1’ which were given away on Bandcamp?
I did plan to do it this way. The first two are unaltered pieces that were actually used in two installations, ‘Installation Music 1’ is very specific to a sculpture ‘Diving Woman’ by Sottish artist David Mach. ‘Asylum’ took some installation music from the Asylum Chapel in Peckham and simply used it as the starting point to create an album that was added to and experimented on over time.
What do you get out of this more experimental direction that you wouldn’t get from writing pop songs?
Total Freedom. A real journey from going out and exploring sounds in the outside world to developing artwork / films and setting out and letting the unfolding music direct where it heads to with no thought of who may like this. That’s why sometimes I’ll give them away for free!
Any thoughts about trying to compose hour long pieces like Brian Eno has done?
I already have a 28 minute piece that was used in an installation. It involved 28 pieces of thirty seconds long, starting with one then adding to it the next piece every 30 seconds to create a collage of found sound, then after 28 minutes it reverses. I will locate it and put it out for free on Bandcamp now you have reminded me! It was accompanied by painter Daisy Cook’s series of 28 small paintings of the Australian landscape but taken from the air. We made a film but I’ve since lost it!
The B-side to B-MOVIE’s ‘Marilyn Dreams’ was ‘Film Music Part 1’, what ever happened to Part 2 and is composing film music a direction you would like to head in?
That was written by Rick and I really like it! I think it was Rick, although Steve wrote most things back then! Film music is something I would love to do and would offer the music for free to any budding or low budget film in need!
After B-MOVIE first ended, you started to work with Peter Murphy in 1988 and continue to do so today, how would describe your creative dynamic?
Slow development! No, it’s completely different than my usual co-writing and has been long distance, with us rarely or actually ever sitting down in the same room and writing anything together. ‘Love Hysteria’ was me sitting in his attic with a four track and a few instruments, then leaving it with him. ‘Deep’ was similar but in a studio room, with Peter adding stuff once I’d put any sort of sketch down. After his move to Turkey, I would visit Ankara but again go into his studio room alone and sketch ideas, whilst he would then go in after me later at night and really shape them up. Since the internet, we simply share files. Some people find this dynamic difficult but after such a long time, I find it easy to send him anything I feel will intrigue.
Photo by Pete Walsh
In 1996, you formed PEACH who you described as “ABBA Meets THE KLF”? What inspired this?
Hahahaha! That was meeting Pascal Gabriel who produced the Murphy album ‘Cascade’. After the ‘Holy Smoke’ album, Peter dropped THE 100 MEN (band) and I went back to co-writing the whole album via sketches and lots of different styles, but with a more electronic feel.
We all went to Spain to record, Peter, Pascal and myself and it was fairly high pressure. On returning to London, I began to hang out with Pascal and he suggested that we form a very up dayglo electronic trio… very different to my Murphy work and at the time, it was something I definitely needed to do.
How did getting signed to Mute come about? It appeared to happen quite quickly…
We signed to Daniel Miller’s Mute label after playing him two demos in his office with no singer and Pascal sorting of humming vocal ideas. I really respect Daniel Miller and how he got what we were trying to do immediately and offered us a deal on the spot! I will always be grateful to Pascal as he gave me studio keys and access to all these incredible synths and recording gear and simply let me learn my way around it, whilst we simply began recording with no agenda, other than kicking electropop tunes!
While your first single ‘On My Own’ wasn’t a UK Top 40 hit, it attracted positive responses…
It was a hit in the States and reached No 11 on the radio charts and also was a pop Top 40 hit. It was No 1 in Canada, Israel and bizarrely Singapore where Lisa Lamb and myself headed out to play the city’s 33rd birthday celebrations…v v odd!
How did you feel when ‘On My Own’ featured in the film ‘Sliding Doors’?
I remember being very excited, especially meeting Gwyneth Paltrow at the aftershow of the London premiere. Also seeing your name come up at the end of the film credits was worth it!
‘From This Moment On’ is a timeless pop tune…
I wrote the majority of that alone, picturing a sort of ABBA / ACE OF BASS crossover with a different rhythmic feel than the rest of the more uptempo songs.
I started with the sequencer and then went back and wrote this long intro as I may have discovered a jazz chord or two from some book! Lyrically, I just liked the sound of the words / sentiment without it being particularly about anything! I don’t normally write lyrics, perhaps you can see why!
The eventual ‘Audiopeach’ album was one of the last recordings that the late Billy Mackenzie contributed to. His ad libs on ‘Deep Down Together’ are so unmistakable, how did you know him and what was he like to work with?
Billy Mackenzie was a friend of Pascal’s and I was a HUGE fan of ASSOCIATES. It was shortly before he committed suicide and he arrived very down to earth and humble with a few cans of beer. He simply opened his mouth and that voice exploded. I loved it so much, I owned a DAT tape of him simply singing his vocal line unaccompanied, it was so pure with such a range. He also sang on ’Give Me Tomorrow’, replacing the high sampled opera vocal. I have read ‘The Glamour Chase’ biography twice now and recently have started listening to him a lot.
By the time ‘Audiopeach’ came out in 1998, the momentum appeared to have stalled, what happened?
Basically we didn’t all get on. Lisa proved difficult at the time, while Pascal and her were complete ‘Polar Opposites’ in just about everything. I think Lisa herself will admit she found it difficult and although we had success, our vision of what PEACH should sound like / appear like were pulling in two very different directions. I was sad as I had left a long running collaboration with Murphy, found success with this pop / electronic vibe, signed to Mute and then walked away from it all.
Photo by Joe Dilworth
PEACH supported ERASURE in London but did not play live much, could this have been a contributory factor?
I loved playing live, especially after some amazing live shows around the world with Peter Murphy, who was and is a great frontman and thrived on chaos. Pascal wasn’t so much a live musician and Lisa just got more outrageous, so it wasn’t really a live show at all, just playing a few chords over a backing track. We played three shows with ERASURE in London and before that, two in Hamburg. The German shows were a real success and very enjoyable, but somehow we’d lost enthusiasm by the time we played London!
PEACH appeared to help kickstart your next phase as a pop writer with artists like Kylie Minogue, Rachel Stevens and Lisa Scott-Lee?
Yes, that was only due to the fact I signed via PEACH to Warner Chappell and became great friends with my A&R man Mike Sault who began getting us co-writes with other artists and also, the great work that Sandy Dworniak at TMT Management did as Pascal’s and my manager.
Some might say your best known song is ‘Here With Me’ which you did with Dido, how do you look back on it?
It was so good as Dido had no expectations on her and I loved her voice; as a person and collaborator, she was great fun and wrote quickly and strongly in terms of her lyrics / melodies. We wrote quite a lot of songs and I remember vividly writing ‘I’m No Angel’ with her in about two hours!
So how would you approach a song for a singer, as opposed to artists like Dido, Sarah Nixey or Dot Allison who are more involved in the composition side? Is there a brief from the label?
Yep, sort of. It’s always strange as they give you a reference video by another artist, then the artist plays you something different and the management tell you they want something off the wall and different, so I just try and write the most interesting music I can and see where it goes. It’s so hard to get these things right and you end up with literally hundreds of very very good songs, but then so does everyone else who co-writes with them. It’s frustrating going back and seeing a huge iTunes library with lots of songs that you feel could be hits if the artist / A&R / manager had chosen to go with the song you co-wrote!!
You also worked with Jim Kerr on ‘Return Of the King’, a tribute to Billy Mackenzie for his LOST BOY solo project and subsequently, ‘Kill Or Cure’ for SIMPLE MINDS, what was that like?
Fantastic! I saw SIMPLE MINDS four times in one year when I was a teenager and was a HUGE fan of the first four albums. Not so much ‘New Gold Dream’ onwards, but ‘Reel To Real Cacophony’ and ‘Empires & Dance’.
So writing with Jim Kerr in my small bedroom sized home studio was one of those moments you think if I could have told my 18 year old self that, he wouldn’t have believed me! Also we share a lot of great music references in Bowie, Bolan, Roxy and certain literary styles / books. Jim is a very optimistic and supportive friend, he encouraged THE DARK FLOWERS and we have written a lot of material that may or may not see the light of day!
So what’s happening with THE DARK FLOWERS, which has featured Jim Kerr, Peter Murphy and Dot Allison amongst others?
I have all the music… it’s like herding cats trying to get a song or two from each person as they are all involved constantly in their own work. However I’m getting excited about the second album as its shaping up well… darker in tone than the first (deliberately) and featuring David J as well. Lloyd Cole was interested and started a track, but as of yet???!!!!
In all, are you quite happy with how your music career has turned out in its various guises?
I’m very happy… more so than ever. I re-signed to Warner Chappell in January and balance my week with running a course at BIMM in London once a week and heading up the songwriting workshops at Solent University (sixth year now) once a week too. This leaves me plenty of time to work on my own stuff and collaborate with long standing friends / artists
What’s next for you in whatever guise?
– THE DARK FLOWERS 2
– The continued release of experimental music via Loki Records
– AFTER THE RAIN (my new sample / DJ Shadow style project)
– New B-MOVIE album
– New Peter Murphy collaborations
– A new KRAFTWERK / vaporwave project with film composer Magnus Fiennes out in LA
– And continued co-writing via Warner Chappell’s, particularly with electro R‘n’B singer Billie Black.
ELECTRICITYCLUB.CO.UK gives its grateful thanks to Paul Statham
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were played by 
was later reinterpreted by 
from ‘DOA: The Third & Final Report of…’ from 1978 proved.
, a playful synthpop ditty which was subsequently covered in Greek by 
captures Carter’s enthusiasm for the limitless possibilities of science, with more than a nod towards the work of 
featured during a key scene in the Gwyneth Paltrow movie ‘Sliding Doors’.
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