Tag: Mute Records (Page 7 of 10)

A Beginner’s Guide To JOHN FRYER

8 August 2015 /


Having started his career at London’s Blackwing Studios in 1980 as an assistant engineer, John Fryer had a very basic knowledge of recording technology.

Employed by Eric Radcliffe, he promptly progressed from engineering into production and became the very reason for the first two COCTEAU TWINS albums sounding as sui generis as they did.

FAD GADGET and DEPECHE MODE; freshly discovered by Daniel Miller, were two of the first acts Fryer co-engineered on a rather limited studio equipment with the pressures of time. Technology started to progress fast and Daniel Miller would often bring the newly released toys into the studio.

The second DM album, ‘A Broken Frame’, written by the newly appointed chief songwriter Martin Gore, used the likes of PPG Wave 2 and Roland TR808 amongst others. The freshly formed YAZOO, with Alison Moyet and ex-Depeche member Vince Clarke, decided to record simultaneously.

To avoid any friction between the acts, John continued at Blackwing, while Eric looked after YAZOO from his home. Fryer did work on ‘Only You’ for them however. Soon enough Fryer’s growing sound manipulation would lend itself to his side project THIS MORTAL COIL with 4AD kingpin Ivo Watts-Russell, named after Monty Python’s ‘Dead Parrot Sketch’. The idea behind the venture was to create music as collaborations with artists signed to or associated with 4AD.

Fryer continued his career in Blackwing, producing MODERN ENGLISH, DEAD CAN DANCE, THE WOLFGANG PRESS, CLAN OF XYMOX and notably HE SAID, whose track ‘Pump’ Fryer still reminisces with fondness.

He has described his time as “a blur”, having worked on multiple projects simultaneously and producing one artist after another. In ten years, he only had five days off sick and worked incredibly long hours, an example being a 36 hour session with Alison Moyet, followed by “the next band”. Outsiders thought Fryer was indeed the owner of the studio, having spent all his time there!

Nine years after the start of his love affair with Blackwing, Fryer decided to go freelance. Truth being, if an artist wanted to work with him, they would approach him anyway. And that was certainly the case with NINE INCH NAILS, Trent Reznor having admired what Fryer had done for HE SAID. Fryer proudly recalls the feeling after finishing the album’s production, upon re-playing it to NIN’s record company boss, who had thought the record was ruined.

For Fryer, the desired effect had been achieved. The production work rolled in and notable clients included HIS NAME IS ALIVE, PARADISE LOST, LUSH and THE GO-BETWEENS.

Having not been in a band as such before, in 2011 Fryer decided to head his own project DARKDRIVECLINIC. 2014 brought the hungry listener SILVER GHOST SHIMMER while in the recent months, Fryer has indulged in the softer, ethereal offerings of two MURICIDAE EPs accompanied by the LA based Louise Fraser. 

With such wealth of experience, Fryer surely deserves a break. Living in Oslo, the master does not rest on his laurels however; hungry to produce, in his stripped down studio, he will no doubt work with some amazing acts again.

In the meantime, let’s imagine what a John Fryer retrospective would look like, made up from a choice of his best work as an engineer, co-producer and producer. The list is not comprehensive and the tracks are not necessarily the best songs on their respective albums, but they certainly showcase Fryer’s production and engineering skills, which evolved over the years, giving him a signature sound of his own.

With a restriction of one track per album project, here are eighteen songs choices in a Beginner’s Guide to the studio legend that is John Fryer, with additional choice commentary from the man himself.

FAD GADGET The Box (1980)

‘The Box’ was the B-side to ‘Back To Nature’, the second ever single on Daniel Miller’s Mute Records. Later appearing in re-recorded form on the magnificent ‘Fireside Favourites’ album released in 1980, interestingly enough, the vocals were recorded with Frank Tovey being uncomfortably locked up in a flight case. This was to signify the “boxed” feel of the vocals. John fondly remembers the collaboration: “Yes, Frank wanted to get a claustrophobic close sound and we just happened to have a big flight case sitting there in the live room, big enough to fit him inside. So we decided to record the vocals in the flight case to get the authentic box sound”

Available on the FAD GADGET album ‘Fireside Favourites’ via Mute Records

http://www.fadgadget.co.uk

DEPECHE MODE Tora! Tora! Tora! (1981)

Not having the digital luxuries of the world we know today, ‘Speak And Spell’ was solely recorded on a 8 track tape machine, but Fryer made do with anything which came to hand, as long as it could make some sort of noise. ‘Tora! Tora! Tora!’ was one of two songs written by Martin Gore on the Vince Clarke dominated ‘Speak And Spell’. A clever love song about a decaying relationship, crying out for help, hidden within highly political lyrical content, it was fabulously intertwined in a steady beat to which Dave Gahan has performed some of his best early dances live.

Available on the DEPECHE MODE album ‘Speak & Spell’ via Mute Records

http://www.depechemode.com/

DEPECHE MODE Leave In Silence (1982)

‘Leave In Silence’ was DEPECHE MODE’s sixth single. Taken from ‘A Broken Frame’, it was written by Martin Gore, who suddenly got elevated into being the band’s chief songwriter, upon Vince Clarke’s departure. After the previous pop slanted singles ‘See You’ and ‘The Meaning Of Love’, it introduced the darker, more melancholic tones of what was to be in store for DEPECHE MODE – John: “Martin took to writing like a duck to water, he always had in it him, it just had to be coaxed out of him. Once Vince had left, the new DM was born”

Available on the DEPECHE MODE album ‘A Broken Frame’ via Mute Records

https://www.facebook.com/depechemode

COCTEAU TWINS From The Flagstones (1983)

From COCTEAU TWINS’ third EP ‘Sunburst & Snowblind’, the Fryer produced ‘From The Flagstones’ was recorded by Elizabeth Fraser and Robin Guthrie as a duo, after Will Heggie left the band. There was a feeling of improvisation, including Fraser’s distinctive, yet “wordless” vocals and Guthrie’s effected guitar riffs. Those two elements intertwined and went on to become the band’s signature sound on the eventual ‘Head Over Heels’ album – John: “We recorded up in Scotland where the band felt more at home. The album wasn’t improvised, it was written and we just played around with sounds and over dubs. Why do people think Liz never sang words? She sat for hours with a dictionary writing lyrics for the album, she just has a unique way of singing and phrasing, that’s all”

Available on the COCTEAU TWINS album ‘Lullabies To Violaine – Volume 1’ via 4AD Records

http://www.cocteautwins.com/

THIS MORTAL COIL Song To The Siren (1983)

Originally released by Tim Buckley on his 1970 album ‘Starsailor’, the song has become his most famous, mainly due to the numerous cover versions, THIS MORTAL COIL’s take being one of the most prominent. The single featuring Elizabeth Fraser and Robin Guthrie was released in 1983, peaking at No66 on the UK singles charts. Due to its cult popularity, it also spent 101 weeks on the UK Indie Charts. ‘Song To The Siren’ was included on the 1984 debut album ‘It’ll End In Tears’. None other than David Lynch appreciated the version to such an extent, he featured it on his 1997 ‘Lost Highway’ film and the first two Julee Cruise albums are said to be inspired by the production – John: “‘Song To The Siren’ was originally recorded as a B-side to the tracks ’16 Day’ and ‘Gathering Dust’; that was the start of the epic journey THIS MORTAL COIL went on”

Available on the THIS MORTAL COIL album ‘It’ll End In Tears’ via 4AD Records

http://www.4ad.com/artists/thismortalcoil

M/A/R/R/S Pump Up The Volume (1987)

M/A/R/R/S could be considered the ‘dance’ version of THIS MORTAL COIL, with Watts-Russell suggesting a union of COLOURBOX and AR KANE, two 4AD acts who had each suggested to him independently about making records inspired by the emerging American House scene. Engineering the sessions, Fryer found himself an unwilling referee between the conflicting factions. So the two parties worked separately with the COLOURBOX led ‘Pump Up The Volume’ coming out on top in white label club trials. With Fryer utilising an Akai MPC / S900 combination for the programming plus scratch effects by DJs CJ Macintosh and Dave Dorrell, the rest became history…

Available on the compilation album ‘Pump Up The Volume’ (V/A) via Universal Music

http://www.4ad.com/artists/marrs

THIS MORTAL COIL Acid, Bitter & Sad (1987)

With THIS MORTAL COIL, the likes of Elizabeth Fraser, Gordon Sharp, Tanya Donelly, Heidi Berry and Lisa Gerrard were recruited amongst others, to perform either cover versions or original material. However, much of the latter comprised of enigmatic instrumentals steered by Fryer and Watts-Russell. A good example was ‘Acid, Bitter & Sad’ which featured the abstract vocals of Alison Limerick and turned up on the ‘Lonely Is An Eyesore’ compendium. The three studio albums that surfaced from the project ‘It’ll End In Tears’, ‘Filigree & Shadow’ and ‘Blood’ were all highly acclaimed. The idea continued as THE HOPE BLISTER with Louise Rutkowski on vocals for two albums before Watts-Russell retired from the music industry in 1999.

Available on the compilation album ‘Lonely Is An Eyesore’ (V/A) via 4AD Records

https://www.facebook.com/John.Fryer.Official

NINE INCH NAILS Sin (1989)

‘Sin’ was the third single from the critically acclaimed NINE INCH NAILS’ debut LP ‘Pretty Hate Machine’ which achieved triple platinum certification in 2003, having sold three million copies in the US alone. Still a live favourite, ‘Sin’ peaked at number 35 in the UK Singles Chart in 1990. The song’s sexual connotations are clearly portrayed in its video, which features the “Short” remix of the track. Fryer engineered, mixed and produced the song and fondly remembers working on the album, which went to become a huge commercial success – John: “‘PHM’ was a slow burner, it took a while for it to catch on but once it did, there was no stopping it or the band…”

Available on the NINE INCH NAILS album ‘Pretty Hate Machine’ via Island Records

http://www.nin.com/

JESUS JONES Right Here, Right Now (1990)

Led by Mike Edwards, JESUS JONES’ ‘Right Here, Right Now’ was released in September 1990 and peaked at No31 in the UK Charts at the height of the indie dance ‘baggy’ craze. However in the US, it went to No2 in the Billboard Hot 100. Inspired by the Russian Perestroika changes, as well as other events in Eastern Europe, the tune is still used in adverts and video games alike – John: “Mike had a unique approach to writing pop music, it was great to work with him on that album. Great poptastic record”

Available on the JESUS JONES album ‘Doubt’ via Food Records

http://jesusjones.com/

CHAPTERHOUSE Falling Down (1991)

Remixed by Stephen Hague, ‘Falling Down’ appeared on the band’s EP ‘Freefall’ and Fryer-produced LP ‘Whirlpool’. The band was placed into Shoegazing genre, a name invented by NME and Melody Maker describing the performance style based on being not engaged with the audience and simply “staring downwards at their shoes”. Of course, this could have been the outcome of constantly looking downwards while using the effects pedals! John: “The NME has been great at making up labels for types of music. CHAPTERHOUSE was, and still is a live awesome band. The first thing the band did on starting the recordings, was take off their shoes…”

Available on the CHAPTERHOUSE album ‘Whirlpool’ via Cherry Red Records

https://www.facebook.com/pages/Chapterhouse/125153479348

SWALLOW Peekaboo (1992)

From their album ‘Blow’, it was the only record SWALLOW put out on 4AD. Sometimes described as part of the Shoegazing genre, the Camberwell based band came together in 1990. ‘Blow’ was later remixed by the band itself, breaking down the Fryer production and releasing it under the name of ‘Blowback’. Louise Trehy and Mike Mason joined forces with Rough Trade Records afterwards to release ‘Hush’ EP before disbanding – John: “I don’t really know why they were called shoegaze, they should be called more art-gaze, more of an arty CURVE”

Available on the SWALLOW album ‘Blow’ via 4AD Records

http://www.4ad.com/artists/swallow

HIM Join Me In Death (1999)

‘Join Me In Death’ was from the band’s second album out in 1999 ‘Razorblade Romance’. It was also released as ‘Join Me’ in the US, as they were not able to use the word “death” in the title. Although the song’s title provoked widespread controversy, it has become the fifteenth best-selling song in Finland and was used in the European version of the soundtrack for ‘The Thirteenth Floor’. There are four versions of the song’s video and a vague ‘Romeo & Juliet’ theme was also associated to the song – John: “Yes, they had a lot of trouble in the US with the lyrical content for this album. The Americans thought it was a lawsuit waiting to happen with all the teenage suicides and shootings at school, but it was just a romantic love album”

Available on the HIM album ‘Razorblade Romance’ via BMG Finland

http://www.heartagram.com/

DOPE STARS INC 10,000 Watts (2005)

‘10,000 Watts’ was positively received by critics and audiences alike, mainly thanks to aggressive vocals by Victor Love. The parent ‘Neuromance’ album was backed up with numerous festival appearances and sold out in no time. Victor Love has always praised John Fryer’s style of production, admitting his technical knowledge had improved drastically upon working with the magic maker – John: “Pop music comes in various forms and this was another one of them. Victor knows how to write a great pop song and give it a provocative edge”

Available on the DOPE STARS INC album ‘Neuromance’ via Trisol Music Group

https://dopestarsinc.bandcamp.com/album/neuromance

RABIA SORDA Methods Of Chaos (2006)

‘Methods Of Chaos’ was from the 2006 album of the same title in Spanish ‘Metodos Del Caos’. RABIA SORDA has been described as a gentler version of Erk Aicrag’s other project, Mexican Hardfloor legends HOCICO. The word “gentler” needs to be used with care, however, as to a standard listener, it is aggressive, loud and violent. RABIA SORDA’s style is characterised by a very industrial goth sound that has been hugely popular in his native Mexico and Europe – John: “I liked working with Erk and it’s a shame we aren’t working together any longer. He makes interesting kinda industrial pop music and is a very nice guy , I would love to work with him again”

Available on the RABIA SORDA album ‘Metodos Del Caos’ via Out Of Line Records

http://www.rabiasorda.com/

ASHBURY HEIGHTS Derrick Is A Strange Machine (2007)

From the critically acclaimed ‘Three Cheers For The Newlydeads’ in 2007, the Swedish duo has come through many changes, including disbanding and returning; this record remains one of their best however. ASHBURY HEIGHTS were hailed around 2006 as the hottest newcomers onto the electronic music scene, having played the big German and Swedish festivals. They have remixed endless amounts of artists including RABIA SORDA, AESTHETIC PERFECTION, GOD MODULE, and SPACEBUOY as well as many others – John: “ASHBURY HEIGHTS should have gone on to be one of the biggest electronic bands around with their super slick pop sound. It was a joy to work with them”

Available on the ASHBURY HEIGHTS album ‘Three Cheers For The Newlydeads’ via Out Of Line Records

http://ashburyheightsofficial.tumblr.com/

DARKDRIVECLINIC Silhouettes (2011)

‘Silhouettes’ was released a year after Fryer started collaborating with STRIPMALL ARCHITECTURE vocalist Rebecca Coseboom. Ethereal and textured, yet a catchy pop tune, it stands out on the ‘Noise In My Head’ album production. On this record, Fryer decided to be personally involved in a band member’s capacity, giving it celestial and sublime endorsement, and that certainly comes across – John: “‘Noise In My Head’ is the culmination of 25 years of work. It had been worked on over that time in-between producing other people’s records, but it was something I really wanted and needed to do for myself”

Available on the DARKDRIVECLINIC album ‘Noise In My Head’ via Metropolis Music

http://www.metropolis-records.com/artist/darkdriveclinic

SILVER GHOST SHIMMER Soft Landing (2014)

‘Soft Landing’ was released on 30th October 2014 to launch his “over the pond” collaboration with über talented LA based vocalist Pinky Turzo. This twinkling gem, which opens the album of the same title, is hints at the 1962 hit by JAY & THE AMERICANS ‘She Cried’. The songs on ‘Soft Landing’ can be easily described as a marriage of Dave Gahan’s solo projects and Alison Goldfrapp’s vocals, with the song itself being a masterpiece and a proud moment for Fryer. September 2015 will see gigs from Fryer and Turzo showcasing ‘Soft Landing’ to the hungry audiences – John: “The ‘Soft Landing’ album is more of a homage to the girl groups of the sixties. We wanted to marry that vocal sound of the girl groups to my electronic noise pop and I think we succeeded, in my opinion anyway”

Available on the SILVER GHOST SHIMMER download album ‘Soft Landing’ via Silver Ghost Shimmer

https://www.facebook.com/silverghostshimmer.official

MURICIDAE Strange (2015)

‘Strange’ comes from Fryer’s latest EP with Louise Fraser, an LA based vocalist. An exquisite continuation from the first EP entitled ‘Tales From A Silent Ocean’, the production on ‘Strange’ cunningly resembles Alan Wilder’s (did he learn from the best?) on his RECOIL gems, yet it’s even softer and powerful, which proves why John Fryer is THE PRODUCER of now. The droplets of synth perfection are skilfully intertwined with airy vocals of Fraser, sounding almost JULEE CRUISE-like – John: “MURICIDAE is a project that I’m proud of. It compares to my roots of a 4AD sound, capturing the ambient, ethereal soundscapes and bringing them up to date with my own twists and noise”

Available on the MURICIDAE download EP ‘Tears Are Stronger Than Waves’ via Muricidae Music

https://www.facebook.com/muricidaemusic/

Text by Monika Izabela Goss with grateful thanks to John Fryer
8th August 2015

The Electronic Legacy of MUTE RECORDS

23 June 2015 /

Without doubt, Mute Records is one of the most important record labels in the history of electronic music. 

While the early electronic legacy of Virgin Records helped the genre gain its first foothold in the mainstream, the discerning ethos of Mute has maintained its presence in both pop and more experimental fields.

Like many, Mute supremo Daniel Miller began taking an interest in synthesizers as tools for making pop music after hearing KRAFTWERK’s ‘Autobahn’. The son of Austrian Jewish refugees, he was DJing on the continent after completing his film studies course when he became enthralled by the Kling Klang sound.

He was inspired to make electronic music himself but at the time, the equipment was prohibitively expensive. That all changed with the advent of affordable synthesizers from Japan manufactured by the likes of Korg and Roland.

Already a fan of German kosmische scene, his sense of experimentation and an adoption of punk’s DIY ethic led him to buying a Korg 700s. Wanting to make a punk single with electronics, he wrote and recorded ‘Warm Leatherette’ b/w ‘TVOD’ for a one-off independent single release in 1978. He needed a label name and chose ‘Mute’ after the button that came on the equipment that he had used as a film studies student.

Distributed by Rough Trade, MUTE 001 was a surprise success and thanks to him including his mother’s North London home address on the back of the striking monochromatic crash test dummy sleeve, Miller started receiving cassettes from kindred spirits who were keen to explore the brave new electronic world; he realised that a new scene was developing.

Through his connections at Rough Trade, he became aware of former art student Frank Tovey. As FAD GADGET, Tovey recorded ‘Back To Nature’ which was issued as MUTE 002 in October 1979. A seminal work that was also critically acclaimed, it helped establish Mute’s credentials as a champion of electronic music.

The first album released on Mute was ‘Die Kleinen Und Die Bösen’ by German band DEUTSCH AMERIKANISCHE FREUNDSCHAFT (DAF) in March 1980. Miller had signed them because “they weren’t relying on past rock”. The majority of STUMM 1 was recorded with the legendary Conny Plank at the controls of the studio recordings, while the remainder came from tape of a live gig at London’s Electric Ballroom.

DAF set the ball rolling in furthering Mute’s aspirations, while the Germanic influence continued through into the label’s cataloguing system as the album prefix Stumm was the German word for Mute.

Meanwhile, Miller was fascinated about the idea of synthesizers as the future of popular music and conceived a teenage pop group who would use only synths; he called them SILICON TEENS although in reality, this was actually his solo electronic covers project. Something of a novelty, his cover of ‘Red River Rock’ ended up on the closing credits of the Steve Martin / John Candy comedy ‘Planes, Trains & Automobiles’ in 1987!

But Miller’s dream became flesh and blood when he came across a young quartet from Basildon called DEPECHE MODE. Signed on a handshake 50/50 deal, while the group was a chart success, they fragmented after their 1981 debut album ‘Speak & Spell’. However the remaining trio of Andy Fletcher, Dave Gahan and Martin Gore recruited Alan Wilder, soldiered on and the rest is history. Meanwhile, the departed Vince Clarke went on to further success with YAZOO, THE ASSEMBLY and ERASURE.

With the label’s commercial success, Mute were able to back more experimental releases from Germany including the quirky single ‘Fred Vom Jupiter’ by ANDREAS DORAU & DIE MARINAS, and ‘Los Ninos Del Parque’ by LIAISONS DANGEREUSES. Mute’s business ethos, where money made from record sales allowed acts to develop within a sympathetic creative environment free from interference, proved to be key to its artistic and financial prosperity.

As the label expanded over the years, further signings included EINSTÜRZENDE NEUBAUTEN, LAIBACH, WIRE, BOMB THE BASS (through the Blast First subsidiary), INSPIRAL CARPETS,  GOLDFRAPP while Moby and Nick Cave proved to be amongst the big successes . Meanwhile Miller took the ultimate step in his love of German music, acquiring the rights to the music of CAN and becoming the winning bidder for the vocoder used on ‘Autobahn’ when it came up for auction!

In May 2002, Mute Records was bought by EMI for £23m, although Miller remained as a figurehead and in charge of the company’s global activities. The label became the brand for the multi-national’s electronic music activities and when KRAFTWERK’s back catalogue was finally remastered by EMI, it was released under the Mute banner.

However, with rapid changes occurring within the industry as a result of the new digital marketplace, EMI and Miller reached an agreement in September 2010 to establish a second independently run record label under the name Mute Artists for new acts, while the Mute Records name and rights to the label’s archive recordings remained under the control of EMI via its new owners Universal. As owners of their own catalogue, DEPECHE MODE formally ended their association with the label that launched them and signed a lucrative licencing agreement with Sony BMG.

But the Mute story continues with acts such as MAPS and Polly Scattergood, while Miller’s latest addition to the roster has been NEW ORDER whose new album ‘Music Complete’ will be out on 28th September 2015.

So what twenty albums or EPs best represent Mute’s electronic legacy? With a restriction of one release per artist moniker, here are ELECTRICITYCLUB.CO.UK’s choices…

FAD GADGET Fireside Favourites (1980)

Following the success of singles ‘Back To Nature’ and ‘Ricky’s Hand’ with a small but loyal fanbase now established, a FAD GADGET album was eagerly anticipated. It came in September 1980 with ‘Fireside Favourites’ co-produced with Eric Radcliffe and John Fryer. it developed on the minimal industrialism of the singles. The superb ‘Coitus Interruptus’ was a cynical commentary on casual relationships while the Cold War tensions were documented on ‘Fireside Favourite’.

‘Fireside Favourites’ was released as STUMM 3

http://www.fadgadget.co.uk

SILICON TEENS Music For Parties (1980)

Following the acclaim that was accorded to THE NORMAL, Daniel Miller decided to undertake a new project where rock ’n’ roll standards such as ‘Memphis Tennessee’, ‘Just Like Eddie’ and ‘Let’s Dance’ were reinterpreted in a synthpop style, with Miller singing like he had a clothes peg attached to his nose. With his inherent shyness, the vehicle he used was SILICON TEENS, a fictitious synth group where several young actors were hired to appear in videos and do press interviews.

‘Music For Parties’ was released as STUMM 2

http://mute.com/

YAZOO Upstairs At Eric’s (1982)

Disillusioned by the pop circus following the singles success of ‘New Life and ‘Just Can’t Get Enough’, Vince Clarke departed DEPECHE MODE in late 1981 and formed YAZOO with Alison Moyet. Although they only released two albums, YAZOO’s impact was long lasting. The debut ‘Upstairs at Eric’s’ was a perfect union of passionate bluesy vocals and pristinely programmed synthpop. Songs such as ‘Only You, ‘Don’t Go’, ‘Midnight’ and ‘Winter Kills’ set a high standard but the duo parted ways.

‘Upstairs at Eric’s’ was released as STUMM 7

http://www.yazooinfo.com/

ROBERT GÖRL Night Full Of Tension (1984)

In a departure from DAF’s pioneering electronic body music, drummer Robert Görl lightened up considerably with a solo synthpop record that even had him posing bare chested by a swimming pool on the cover. ‘Night Full Of Tension’ even featured vocal contributions from EURYTHMICS’ Annie Lennox on ‘Charlie Cat’ and ‘Darling Don’t Leave Me’. Although not featuring on the original LP, the brooding but accessible single ‘Mit Dir’ was an electronic cult classic and included on the CD reissue.

‘Night Full Of Tension’ was released as STUMM 16

http://www.robert-goerl.de

ERASURE The Circus (1986)

Although success for ERASURE was not instant with debut album ‘Wonderland’ and its lost single ‘Oh L’Amour’, the chemistry between Clarke and Bell possessed a special spark. ERASURE toured the college circuit and built up a loyal fanbase, eventually hitting chart paydirt with ‘Sometimes’. ERASURE added political commentary ‘It Doesn’t Have To Be’ and ‘The Circus’ title track, while songs such as ‘Spiralling’ and ‘Hideaway’ confirmed they were more than just a great singles act.

‘The Circus’ was released as STUMM 35

http://www.erasureinfo.com

LAIBACH Opus Dei (1987)

Controversial Slovenians LAIBACH played with Teutonic rhythms and Third Reich imagery, while their unique covers of QUEEN’s ‘One Vision’ and OPUS’ ‘Life Is Life’ indicated they were either ironic art terrorists or preachers of a dangerous political message. Mute were accused of tolerating artists with far right sympathies but with Daniel Miller’s Jewish heritage, this was unlikely. Their industrial torture made an impact with ‘Opus Dei’, particularly on RAMMSTEIN.

‘Opus Dei’ was released as STUMM 44

http://www.laibach.org/

MARTIN GORE Counterfeit (1989)

‘Counterfeit’ allowed Gore to indulge in six covers with varying origins. The emotive traditional standard ‘Motherless Child’ revealed his love of the Blues while a great version of SPARKS’ ‘Never Turn Your Back On Mother Earth’ was a fitting look back at the eccentric pop that would have fed the young Mr Gore. Reinterpretations of cult artists such as TUXEDOMOON, THE DURUTTI COLUMN and THE COMSAT ANGELS revealed there was a lot more to Gore’s record collection.

‘Counterfeit’ released as STUMM 67

http://www.martingore.com

DEPECHE MODE Violator (1990)

Why is ‘Violator’ so important and highly celebrated? It is still DEPECHE MODE’s most complete and accomplished body of work. It was the classic Fletcher/Gahan/Gore/Wilder line-up firing on all cylinders and at their most happiest as a unit. The end result was four hit singles but also songs such as ‘Halo’, ‘Waiting For The Night’ and ‘Clean’ which were easily their equal. And on ‘Blue Dress’, Gore’s lyrics possessed an honesty that while dark and deviant, still retained a naïve innocence.

‘Violator’ was released as STUMM 64

http://www.depechemode.com

NITZER EBB As Is (1991)

‘As Is’ saw Essex industrialists NITZER EBB at the height of their imperial powers. Although produced by the band, each song was mixed by a different artist or producer. These included Jaz Coleman from KILLING JOKE, producer Flood and MAGAZINE’s Barry Adamson. But the best number was ‘Come Alive’ mixed by Alan Wilder which had the legacy of ‘Violator’ stamped all over it. The subsequent album ‘Ebbhead’ which was produced by Wilder and Flood.

‘As Is’ was released as MUTE 122

http://www.nitzer-ebb.com/

RECOIL Bloodline (1992)

While there had been two EPs ‘1 + 2’ and ‘Hydrology’ by RECOIL, Alan Wilder’s solo sideline to DEPECHE MODE, it wasn’t until 1992 that there was a full length album. ‘Bloodline’ featured vocals from NITZER EBB’s Douglas McCarthy, Toni Halliday of CURVE and Moby. Wilder’s brooding electronic soundscapes and meticulous production made their presence felt and it was McCarthy’s contributions to a cover of Alex Harvey’s ‘Faith Healer’ that stole the show.

‘Bloodline’ was released as STUMM 94

http://www.recoil.co.uk/

MOBY Everything Is Wrong (1995)

When Moby was signed by Daniel Miller, he was considered to be a one hit wonder with ‘Go’ in 1991. His first proper album ‘Everything Is Wrong’ arrived in 1995. The superb instrumental ‘First Cool Hive’, the happy hardcore of ‘Feeling So Real’, the gospel punk of ‘All That I Need Is To Be Loved’ and the neo-classical ‘Hymn’ showcased his eclectic tastes. Miller’s tremendous foresight turned out to be a wise decision when the unexpected success of ‘Play’ in 1999 provided a boost for Mute.

‘Everything Is Wrong’ was released as STUMM 130

http://www.moby.com

KOMPUTER EP (1996)

London duo Simon Leonard and David Baker began as I START COUNTING and then morphed into FORTRAN 5. But as KOMPUTER, they created some heavily KRAFTWERK influenced numbers to make up for the lack of new material. From their first ‘EP’, ‘We Are Komputer’ was their own ‘The Robots’, while there was also the tribute to the first female Cosmonaut ‘Valentina Tereshkova’ which mined ‘The Model’.

‘Komputer’ was released as MUTE 175

https://komp46.wixsite.com/komputer

PEACH Audiopeach (1997)

The concept of PEACH was ‘ABBA meets THE KLF’. Released in September 1997, ‘Audiopeach’ is one of those albums that has been lost in the midst of ‘Cool Britannia’. The album’s reputation was based on the participation of its two instrumentalists Pascal Gabriel and Paul Statham. Completing PEACH’s line-up was singer Lisa Lamb. The album’s launch single ‘On My Own’ was classic pop for the modern era with Lamb’s vocal delivery akin to Belinda Carlisle going electro.

‘Audiopeach’ was released as STUMM 153

http://www.inspiracy.com/peach

ADD N TO (X) Add Insult To Injury (2000)

While LADYTRON were using their Korg MS20s making sinewaves in a more pop oriented setting, ADD N To (X) took their MS series synths into more obscure, experimental territory. ‘Add Insult To Injury’ had one half written / performed by Ann Shenton and Steve Claydon, while the other was written / performed by Barry 7. The wonderful robotic sexual tension of ‘Plug Me In’  and the creepy noise fest of ‘Hit For Cheese’ were highlights.

‘Add Insult To Injury’ was released as STUMM 187

http://www.addntox.com/

GOLDFRAPP Felt Mountain (2000)

‘Felt Mountain’ was a superb introduction to the then electro Weimar Cabaret cinematics of Alison Goldfrapp and Will Gregory. Beginning with the superb ‘Lovely Head’ with its spine tingling whistle and MS20 assisted banshee wails, the album thrilled with Morricone style widescreen inflections to accompany an ascent to the Matterhorn rather than a trek through a Spaghetti Western. ‘Felt Mountain’ was a slow burner that was nominated for the Mercury Music Prize.

‘Felt Mountain’ was released as STUMM 188

http://www.goldfrapp.com

VINCENT CLARKE & MARTYN WARE Spectrum Pursuit Vehicle (2001)

‘Spectrum Pursuit Vehicle’ was composed as part of an installation where the colours referred to in the titles of the six lengthy pieces were ‘programmed to cross fade imperceptibly to create an infinite variation of hue’ in a white clothed room. Tracks like ‘White – You Are In Heaven’, ‘Yellow – You Are On A Beach’, ‘Blue – You Are Underwater’ and’ Green – You Are In A Forest’ were all utilised to full effect with a binaural 3D mixing technique best heard using headphones.

‘Spectrum Pursuit Vehicle’ was released as STUMM 194

http://www.illustriouscompany.co.uk

CLIENT Client (2003)

In 2002, DUBSTAR’s Sarah Blackwood was recruited to front synthpop duo TECHNIQUE by Kate Holmes. In Leipzig supporting DEPECHE MODE, they became CLIENT and were mysteriously referred to as Client A and Client B in a ‘1984’ inspired Orwellian twist. Signed to Mute via Andy Fletcher’s Toast Hawaii imprint, they announced “Client… satisfaction guaranteed… innovate never imitate… we aim to please… at your service” before a “F*** OFF! DON’T TOUCH ME THERE!”

‘Client’ was released as TH 003

http://www.clientlondon.com/

DAVE GAHAN Hourglass (2007)

His solo debut ‘Paper Monsters’ was a disappointment, but Dave Gahan was still finding his feet as a songwriter, becoming more realised on ‘Playing The Angel’. ‘Hourglass’ was better and ‘Kingdom’ could have made a great DM recording. But in the same way that Mick Jagger’s 1984 Nile Rodgers produced solo debut LP having very few takers meant that the ROLLING STONES would continue ad infinitum, would DEPECHE MODE still be going if Mr Gahan’s solo career had taken off?

‘Hourglass’ was released as STUMM 288

http://www.davegahan.com

MAPS Vicissitude (2013)

While Mute continues to diversify, the more esoteric pop aspirations of Mute’s synthetic roster continues. MAPS is the vehicle of James Chapman; with a more expansive electronic template, his third album ‘Vicissitude’ was a selection of very personal songs with a strong melodic backbone. Unafraid to let the instrumental synth elements take a role in the overall aesthetic, tracks like ‘AMA’ and ‘You Will Find a Way’ put MAPS into the same league as M83 and EAST INDIA YOUTH.

‘Vicissitude’ was released as STUMM 354

http://www.thisismaps.com

POLLY SCATTERGOOD Arrows (2013)

Polly Scattergood signalled the more electronic journey of her second album ‘Arrows’ with the marvellous electro-COCTEAU TWINS twist of ‘Wanderlust’. While there were still signs of her folkier roots, synthetic textures and technological trickery were very much part of the action. The sad but driving pop of ‘Falling’ and ‘Subsequently Lost’ attracted empathy with Polly World, while the highly emotive ‘Miss You’ and the dreamy ‘Cocoon’ displayed her vulnerability.

‘Arrows’ was released as STUMM 328

http://www.pollyscattergood.com/

Text by Chi Ming Lai with thanks to Simon Helm at Cold War Night Life
23rd June 2015

A Beginner’s Guide To VINCE CLARKE

18 May 2015 /

It would be fair to say that Mute Records’ initial commercial success came on the back of Vince Clarke’s songcraft.

First with DEPECHE MODE in 1981 and then YAZOO in 1982, Clarke demonstrated that Mute Records had some marvellous pop sensibilities amongst all the cult acclaim that was accorded to acts like THE NORMAL, DAF and FAD GADGET.

He was to become one of the key players in an exciting period of music that was eventually documented in the BBC4 programme ‘Synth Britannia’. Born Vincent John Martin in Basildon, Clarke cut his teeth performing his own songs with a number of local bands including FRENCH LOOK. But it was when he formed COMPOSITION OF SOUND with Martin Gore and Andy Fletcher that things got more serious. There was a new music revolution around the corner involving affordable synthesizers from Japan.

With Clarke’s love of OMD’s now classic ‘Electricity’ single and its B-side ‘Almost’ coinciding with Martin Gore’s purchase of a Yamaha CS5, he and Fletch soon bought a Kawai 100f and Moog Prodigy respectively to follow this new futuristic direction. However, unhappy with his own voice, Clarke recruited college student Dave Gahan as vocalist to fully realise their new ultrapop sound. They renamed themselves DEPECHE MODE after a French fashion magazine.

Photo by Deb Danahay

Signing to Mute Records, the debut single ‘Dreaming of Me’ made an impressive first chart showing at No57 for DEPECHE MODE in Spring 1981 while they also appeared on the ‘Some Bizzare Album’ compiled by Futurist DJ Stevo Pearce which also showcased SOFT CELL, THE THE, B-MOVIE and BLANCMANGE. But after the hit singles ‘New Life’ and ‘Just Can’t Get Enough’, Clarke soon became disillusioned with touring and the general pop circus despite the success. And there was also that old chestnut of musical differences.

A song submitted by Clarke at rehearsals called ‘Only You’ had apparently been rejected by the other members of DEPECHE MODE. So teaming up with local girl Alison Moyet in a new combo called YAZOO, they released ‘Only You’. It reached No2 in the UK singles chart, higher than any DEPECHE MODE single had reached at the time and Clarke was vindicated. Although denied the top spot, the song reached No1 in an accapella rendition by THE FLYING PICKETS in 1984.

However, Clarke was reprising the personal disillusionment that had seen him leave DEPECHE MODE. He moved on to produce his mate Robert Marlow via his own Reset Records imprint and record as THE ASSEMBLY with THE UNDERTONES’ Fergal Sharkey and YAZOO’s producer Eric Radcliffe.

But it was in 1985 that Clarke finally settled down; he placed a small ad in Melody Maker that said “Versatile voice wanted for established songwriter”.  After auditions, Andy Bell was the succesful applicant and ERASURE were formed.

Although success was not instant, the chemistry between Clarke and Bell possessed a special spark both musically and personally; the pair have become one of the most consistent UK pop acts ever with hits such as ‘Sometimes’, ‘Victim Of Love’, ‘The Circus’, ‘A Little Respect’, ‘Stop!’, ‘Chorus’ and ‘Breath Of Life’.

Running in parallel over the years, there have been numerous other projects with 3D sound and computer games. Following working together on ERASURE’s ‘I Say I Say I Say’ issued in 1994, Clarke founded the Illustrious company with Martyn Ware to exploit the creative possibilities of 3D sound technology. Their first release was ‘Pretentious’ as THE CLARKE & WARE EXPERIMENT.

Photo by Joe Dilworth

With THE SATURDAYS in particular, this five piece girl group were practically joined at the hip with Clarke; their first single ‘If This Is Love’ sampled YAZOO’s ‘Situation’ while their sixth was a cover of ‘Just Can’t Get Enough’ for Comic Relief!

Indeed, as YAZOO reformed in 2008 for the ‘Reconnected’ live tour, their musical template was a much coveted sound among girl groups in the late noughties, the best example of which was RED BLOODED WOMEN using ‘Don’t Go’ as the basis for their feisty number ‘Colour Me Dirty’. It was recognition of how absorbed into the mainstream Clarke’s music had become.

Remixes in particular have seen Vince Clarke’s portfolio expand. His Midas touch has been commissioned notably for songs by SPARKS, GOLDFRAPP, BLANCMANGE and FUTURE ISLANDS. But his appeal has spread across all genres, as indicated by HAPPY MONDAYS’ 1988 invitation to rework ‘Wrote For Luck’ as well as more comparatively recently, remixes of FRANZ FERDINAND’s ‘No You Girls’, DIDO’s ‘End of Night’ and THE SATURDAYS’ ‘Issues’.

But one of the best covers of his songs came in 2012 when RÖYKSOPP and Susanne Sundfør recorded ‘Ice Machine’. With ERASURE releasing their best album in nearly a decade with ‘The Violet Flame’ and ‘Only You’ being used in a McVities TV ad, Clarke’s stock is as high as ever. Further reinforcement came recently via an episode of the acclaimed Cold War spy drama ‘The Americans’, which featured ‘Upstairs at Eric’s’ as part of the plot.

So what tracks would make up an imaginary 20 track double CD retrospective as an introduction to Vince Clarke’s work? With a restriction of one track per album project, this list is not a best of as such, but a chronological compendium of historic and artistic adventures that capture the career diversity of a man who used synthesizers to present traditional song structures with that something different.

DEPECHE MODE Photographic – Some Bizzare Version (1981)

The recording that started it all off, the first version of ‘Photographic’ was driven by Mute supremo Daniel Miller’s klanky Korg 55 Rhythm box. It was undoubtedly the stand-out on the ‘Some Bizzare Album’, shading SOFT CELL’s ‘The Girl With The Patent Leather Face’. Much darker than the eventual ‘Speak & Spell’ album take, while tuneful, ‘Photographic’ was not indicative of the supreme pop nous that Clarke was later reveal.

Available on the DEPECHE MODE album ‘The Singles 81-85’ via Mute Records

http://www.depechemode.com

DEPECHE MODE Dreaming Of Me (1981)

A fine debut single from DEPECHE MODE, the infectious melody of ‘Dreaming Of Me’ and closing “la-la-la” refrain borrowed from ‘Make Me Smile (Come Up & See Me)’ by COCKNEY REBEL (incidentally later covered by ERASURE) were a dreamboat combination as a naïve but snarly Dave Gahan interpreted Clarke’s rather bizarre lyrics.  although not a Top 40 hit, as a great slice of synthpop, it certainly deserved to be…

Available as a bonus track on the DEPECHE MODE album ‘Speak & Spell’ via Mute Records

https://www.facebook.com/pages/Depeche-Mode-Information-Service-1981/342571782527621

YAZOO In My Room – David Jensen BBC Session Version (1982)

‘In My Room’ was a good song from ‘Upstairs at Eric’s’ but was spoiled by the tape loop experiments featuring Clarke’s voice For a David Jensen BBC session, these spoken word passages were omitted and the track was reworked using a Fairlight. While much sparser, this superior version allowed the beautifully dark nature of ‘In My Room’ to shine with Alison Moyet on tremendously passionate vocal form.

Available on the compilation box set ‘Mute Audio Documents’ via Mute Records

http://www.yazooinfo.com/

YAZOO Ode To Boy (1982)

Originally the B-side to ‘The Other Side Of Love’, ‘Ode to Boy’ was one of only three songwriting collaborations Clarke did with Moyet while in YAZOO. The song itself was Moyet’s own personal tribute to Clarke, and despite their difficulties in gelling as people, the chemistry between them in this sparse but hypnotic track showed that musically at least, there was potentially more great work to come, had they been able to stay together.

Available on the YAZOO album ‘‘You & Me Both’ via Mute Records

http://www.alisonmoyet.com

THE ASSEMBLY Never Never (1983)

On what turned out to be THE ASSEMBLY’s only single, ‘Never Never’ saw Fergal Sharkey providing his distinctive warble which was marvellously counterpointed with his very Moyet-esque backing vocals. It was an interesting concept to feature guest vocalists over Clarke’s songs but the only track that did eventually surface from these sessions was ‘One Day’ with Paul Quinn from BOURGIE BOURGIE.

Available on the compilation box set ‘Mute Audio Documents’ via Mute Records

http://mute.com/artists/the-assembly

ROBERT MARLOW The Face Of Dorian Gray (1983)

“In the middle of the YAZOO project, I tapped him on the shoulder and said ‘I’ve got some songs, can you give me a day in the studio?’” recalled Robert Marlow, Clarke’s best friend and a cult figure in the Basildon music scene. ‘The Face Of Dorian Grey’ was the first fruit of labours and was released on Reset Records, a label set up by Clarke and Eric Radcliffe that was licensed initially to RCA. But the single wasn’t a hit and RCA later withdrew funding.

Available on the ROBERT MARLOW album ‘‘Peter Pan Effect’ via Energy Records

http://www.discogs.com/artist/Robert+Marlow

ERASURE Who Needs Love (1985)

Clarke placed a small ad in Melody Maker that said “Versatile voice wanted for established songwriter”; a 21 year old Andy Bell was audition #36 and what set the ex-butcher apart from the others was his ability to hit falsetto during the audition piece ‘Who Needs Love (Like That)’. Impressing not only with his Moyet-esque vocal technique but range too, in neo-X Factor style, the judging panel of Clarke, producer Flood and Daniel Miller declared Bell as the winner… ERASURE were born.

Available on the ERASURE album ‘Wonderland’ via Mute Records

http://www.erasureinfo.com/

TWILIGHT Just Me Alone (1985)

TWILIGHT comprised of ERASURE’s tour manager Andrew Mansi and soon-to-be NITZER EBB tour manager Steev Toth. Vince Clarke would produce what turned out to be their only single. ‘Just Me Alone’ was great synthpop regardless, but that VC touch gave it something special. The B-side ‘Talk To You’ showed TWILIGHT did indeed have songwriting talent, but the duo went back to their day jobs with their point proven.

Originally released as a single via Polydor Records, currently unavailable

http://www.discogs.com/artist/799006-Twilight-16

ERASURE Blue Savannah (1989)

Imagine Roy Orbison doing electropop… that was the concept of ‘Blue Savannah’. Uncluttered and full of soaring optimism, this glorious ditty has crossed over to be one of ERASURE’s most universally loved songs and is without doubt, equal to ‘A Little Respect’.  It came in the middle of an imperial phase that began with ‘The Innocents’ and continued to the ‘ABBA-Esque’ EP reaching No1 and the spectacular 1992 theatrical shows.

Available on the ERASURE album ‘Wild!’ via Mute Records

http://mute.com/artists/erasure

ERASURE Fingers & Thumbs (1995)

ERASURE’s seventh self-titled album was Vince Clarke’s attempt at prog synth or as Andy Bell referred to it, the duo’s own ‘Dark Side Of The Moon’ ie ‘Bright Side Of The Sun’. It was an ambitious, if flawed opus with extended intros and the sub-10 minute numbers like ‘Rock Me Gently’. The brilliant ‘Fingers and Thumbs (Cold Summer’s Day)’ was possibly their most underrated single.

Available on the ERASURE album ‘Total Pop! – The First 40 Hits’ via Mute Records

http://www.andybell.com/

CHINESE DETECTIVES Chinese Detectives (1995)

CHINESE DETECTIVES hailed from Norway and only doing cover versions of New Wave classics as a “SILICON TEENS of the 90s”. Among their reworkings was ‘Situation’ but with a taste for the obscure, having named themselves after the plinky instrumental interlude of YAZOO’s 1982 concert tour, they recorded their own version of it. Very much a note-for-note transcription, it remains the only officially released version of the track.

Available on the CHINESE DETECTIVES album ‘Are Kisses Out of Fashion’ via Sub Culture Records

http://chinesedetectives.bandcamp.com/

VINCENT CLARKE & MARTYN WARE Green (2001)

When Vince Clarke and Martyn Ware followed up ‘Pretentious’, ‘Spectrum Pursuit Vehicle’ formed part of an art installation where the colours referred to in the titles of the six lengthy pieces were “programmed to cross fade imperceptibly to create an infinite variation of hue”. Using binaural 3D mixing techniques, tracks such as ‘Green’ took the looming symphonic string template of OMD’s ’66 & Fading’ into a new spacey dimension.

Available on the VINCENT CLARKE & MARTYN WARE album ‘Spectrum Pursuit Vehicle’ via Mute Records

http://www.illustriouscompany.co.uk

SIMPLE MINDS The Floating World (2002)

‘The Floating World’ was an instrumental that closed the SIMPLE MINDS’ rather dull ‘Cry’ album. Basically a thumping rave version of the ‘Dr Who Theme’, closer scrutiny revealed this track to be written by one ‘V. Clarke’. It was more like the band’s early electronic experiments such as ‘Film Theme’ and ‘Theme For Great Cities’; this unlikely collaboration was SIMPLE MINDS’ most interesting work in nearly 15 years.

Available on the SIMPLE MINDS album ‘Cry’ via Eagle Records

http://www.simpleminds.com

ERASURE Here I Am Impossible Again (2005)

Following 2001’s dull “indie” album ‘Loveboat’ and their inconclusive covers compendium ‘Other People’s Songs’, Andy Bell and Vince Clarke made ‘Nightbird’, possibly their best album since ‘The Innocents’. Made entirely using soft synths and more layered than anything before, ‘Here I Go Impossible Again’ was one of the highlights in a brilliant cohesive collection of work. It was proof if that if you’ve got it but have lost it, you can get it again back if you keep trying…

Available on the ERASURE album ‘Nightbird’ via Mute Records

https://www.facebook.com/erasureinfo

POLLY SCATTERGOOD Other Too Endless – Vince Clarke Remix (2009)

Polly Scattergood was managed by former Mute plugger Neil Ferris and her self-titled debut came out on Mute in 2009. An intense organic collection of ethereal songs, Scattergood was a promising talent unafraid to express emotion and vulnerability. From it, ‘Other Too Endless’ was bolstered by a superb VC remix and highlighted the compatibility of her sound within a synthesized pop environment.

Available on the POLLY SCATTERGOOD single ‘Other Too Endless’ via Mute Records

http://www.pollyscattergood.com/

THE GOOD NATURED Ghost Train – Vox Mix (2011)

THE GOOD NATURED were a British pop trio who initially made a splash with a more conventional template on singles like ‘Be My Animal’. But they keen to collaborate and explore more electronic territory. ‘Ghost Train’ originated from a demo that Clarke sent over to the band. Singer Sarah McIntosh’s voice was given a layered, almost robotic aesthetic. Like a futuristic funfair ride, ‘Ghost Train’ swooped in a manner that was very appealing. They later changed their name to LOVESTARRS.

Originally released as a free download via Astralwerks, currently unavailable

http://www.lovestarrs.com/

ELECTRIC YOUTH The Best Thing (2012)

ELECTRIC YOUTH are a synthesizer couple hailing from Edmonton in Canada. Having enjoyed ‘A Real Hero’, Bronwyn Griffin and Austin Garrick’s contribution to the ‘Drive’ soundtrack, Clarke accepted the duo’s invitation to provide his production and mixing skills to the dreamy synthpop of ‘The Best Thing’. Bringing a vintage Yamaha CS80 along to the session, this laid back but melodic ditty was enhanced by the input and came out as ELECTRIC YOUTH’s second single.

Available on the ELECTRIC YOUTH album ‘Innerworld’ via Last Gang Entertainment / Secretly Canadian

http://www.electricyouthmusic.com/

VCMG Lowly (2012)

At 2011’s Short Circuit Presents Mute, Martin Gore discussed with Vince Clarke about collaborating on some minimal techno sketches. After a period of exchanging sound files via the web, the fruits of their endeavours were released as ‘Ssss’ by Mute. Very much Martin Gore’s “kind of disco”, tracks like ‘Spock’ and ‘Single Blip’ were more accessible than purer forms of techno, but the best track was ‘Lowly’ with its sweeping synthetic strings over robotic rhythms.

Available on the VCMG album ‘Ssss’ via Mute Records

http://mute.com/artists/vcmg

VINCE CLARKE & ANA BRUN Fly On The Windscreen (2012)

Novelist Tonya Hurley commissioned her brother-in-law to record a stark cover of his former band’s ‘Fly On The Windscreen’ with vocalist Ane Brun, as part of promotion for her literary trilogy ‘The Blessed’. While the original guitar-like textures were retained, the rest of the widescreen arrangement was quite different with a vulnerable feminine Gothic twist that acted as the ‘Twilight’ Generation’s perfect introduction to DEPECHE MODE.

Available on the VINCE CLARKE download single ‘Fly On The Windscreen’ via Amazon and iTunes

http://www.vinceclarkemusic.com

ERASURE Dead Of Night (2014)

Following the disappointment of 2011’s ‘Tomorrow’s World’, ‘The Violet Flame’, produced by Richard X saw ERASURE return to form and express an infectious zest for the future. Following his VCMG techno project, the songs began with Vince Clarke’s pre-recorded dance grooves. The result was a much more immediate album and ‘Dead Of Night’ was its euphoric opening number.

Available on the ERASURE album ‘The Violet Flame’ via Mute Artists

https://twitter.com/erasureinfo

Text by Chi Ming Lai with thanks to Deb Danahay
18th May 2015

MARTIN GORE MG

24 April 2015 /


A job to either review DEPECHE MODE themselves, Dave Gahan’s solo projects, or, indeed Martin Gore’s, is a rare challenge.

“Is simplicity best, or simply the easiest?” Martin would ask hypothetically on ‘Judas’ from ‘Songs Of Faith And Devotion’. Well, the Simplicity Man himself strikes again on his own, after the acclaimed ‘Counterfeit’ EP and album respectively and collaboration with the early DM Daddy, ERASURE’s Vince Clarke as VCMG.

This time, the solo project is straightforwardly named ‘MG’, and conceived upon Martin coming back from the ‘Delta Machine’ tour with his band mates, is as elementary as it gets. The wonderfully soft and warming vocals of the genius are absent but the pure musical talent is laid bare before us. Many will scream “what, no vocals?”. The point may be a valid one; however, Gore is not just the deeply soulful vibrato of DEPECHE MODE, he’s heavens more.

Gore doesn’t rest on his laurels, even after the strenuous, 10 month tour with the Kings Of Electronica, his wedding and honeymoon. He gets back to the studio and works. A few of the tracks from ‘MG’ were born while writing the material for ‘Delta Machine’ and they were the leftovers DM could not use due to the lack of space on the album.

Every hardcore Depeche fan had noticed the striking lack of instrumentals, which they all had learnt to love and cherish. The absence of such on ‘Delta Machine’ surprised immensely. But the desperation can now be alleviated with the knowledge that songs like ‘Elk’, ‘Brink’ and ‘Featherlight’ were written during the latest DM album sessions, and could have been DM tunes.

Gore claims that music on its own is far more powerful than music and voice together, as it is rawer and of primary origins. He’s fascinated by the complexity of emotions and how “images get stronger” with music in its principal form. That perfectly explains the absence of vocals and creates a cinematic atmosphere, worthy of any self-respecting movie. Writing film scores is indeed something that the artist would be interested in (of course in between touring and four year breaks from Mode, as they tend to fall these days).

Gore set out to write a completely electronic album, guitars are missing and the entire production is heavily based on his new Eurorack Modular system, which gave birth to majority of the sounds used on ‘MG’. Some polyphonic synths and other vintage instruments were also incorporated to achieve more of a sci-fi atmosphere.

Disappointingly, the production will not be toured, as Gore doesn’t perceive the project as life worthy, mainly due to the lack of tempo. In the interviews promoting the release of ‘MG’, he states “it’s not the sort of thing that would be very interesting or visual”, but reckons he can be talked into doing a few DJ sets instead, likely to feature none of the tracks from the new album however. Filmic music doesn’t lend itself well to most types of live set-ups, so the decision seems understandable, if not slightly saddening.

The album consists of 16 tracks, each as unique as they are original, with Gore’s uncomplicated clarity underlining each one. ‘Pinking’ opens the gem with a fabulous and rather familiar DM synth extravaganza, following with organic and crude ‘Swanning’.

‘Exalt’ is an odd sounding, a rapid in-your-face tune. The complicated layering of vibrating sounds has almost a factory quality, to the point where you want it over. And when it’s over, ‘Elk’ enters. The fabric feel of this song draws one in, its nature cinematic, and its texture elusive. It is almost not long enough before ‘Brink’ introduces itself in a minimal techno fashion. Machinery images spring to mind in a mundane beat, bearing gentle resemblance of Martin’s DJ sets, loved and enjoyed before Depeche come on stage.

The single track ‘Europa Hymn’ enters and it immediately transports the listener into the realm of uncertain emotion and feeling of weightlessness, juxtaposed with elements of drama and fright. It is filmic and simplistic, a perfectly rounded number.

‘Creeper’ is inspired, the Sci-Fi and futurism wrapped into this tune are second to none. ‘Spiral’ reverberates and pulsates in and out, while ‘Stealth’ has a game quality sound to it, merging various beats into one inconspicuous melody. ‘Hum’ is inconsequential and airy, its repeated pattern buoyant.

‘Islet’ resembles idyllic DM instrumentals, but is not a memorable piece however, unlike ‘Crowly’, which is powerful and poignant. Stronger, hypnotic in a sense, substantial and elementary at the same time, it is a piece like that would perfectly lend itself to a big cinematic production, it is immense. So is ‘Trysting’, expanding into levels unknown and unfamiliar textures, it is effervescent, yet crumbly in feel.

MG wires‘Southerly’ amazes with the melody, evocative of the emotion only Gore can elicit from a piece of music. It is ever changing, full of hesitant moments, fading unclear notions, and a great dose of uncertainty.

This would-be-a-classic-DM-instrumental. Meanwhile, ‘Featherlight’ enters with considerable tonality, which would have lent itself well to ‘Delta Machine’ from which it spawned

The album ends with ‘Blade’, an extraordinary piece, with Martin L Gore’s signature all over it. If an electronic instrumental could be beautiful, then this truly is.

Tear jerking and bearing, strong yet delicate, simple yet sophisticated. Superabundant in emotion, it is a perfect way to close this atmospheric record.

Undeniably not for everyone, this is not an obvious type of production. The type of creation that ‘MG’ is, Martin Gore said to ‘The Quietus’ that “the images almost felt stronger” . The atmosphere of uncertainty, melancholy but clear purity, surfaces, just like with the older Depeche instrumental tracks, such as ‘Agent Orange’, ‘Oberkorn (It’s A Small Town) or ‘Christmas Island’.

All-music-no-voice productions on Gore’s level almost require no vocals to make them masterpieces, he paints pictures with a brush of melody, rather than lyrical content. This is highly unusual, since he is classed as a top lyricist as well as a writer of extraordinary music. Love or hate DEPECHE MODE, it has to be admitted that Martin Gore is a genius. Unassuming, slightly shy still, and clearly undisturbed with the fact that neither himself, nor his band mates, have never received the recognition they fairly deserve from the media and critics, the brain behind DM continues to shine, “somebody has to shine for me, it’s difficult not to shine for me”.

Even though it is different, ‘MG’ simply has to find its way to everyone’s music collection; its appeal, not only to the die-hard fans of synthpop, electronica, but also to the grown-up cinema music lovers is undeniable. Gore’s unfiltered immaculateness prevails, whether it is with his work for DEPECHE MODE, his covers on both ‘Counterfeit’ productions, his minimal techno with VCMG, or now on this untainted gem.

Relaxing with a glass of white, watching the clouds go by and pondering upon Martin’s ideas incorporated in his emotionally charged hymns of instability, uncertainty, unpredictability and disillusion must be a true electronica fan’s dream… is it yours?

‘MG’ is released in CD, vinyl and downloadformats by Mute Artists

http://www.martingore.com/

https://www.facebook.com/MartinGore

http://mute.com/martin-l-gore/

Text by Monika Izabela Goss
24th April 2015

ERASURE The Violet Flame

22 September 2014 /

And here it is! Another digital marvel from Andy Bell and Vince Clarke, celebrating nearly 30 years of songwriting and having sold 25 million albums, the eagerly awaited 16th studio album, ‘The Violet Flame’.

A rather different approach was adopted for preparing this one, which follows the success of 2013 Christmas album ‘Snow Globe’. The collaborative writing process took place in Miami, with Vince’s pre-recorded dance grooves, which Andy Bell found “very inspiring”.

The album was recorded in London and New York and produced by Richard X. Andy Bell himself admits that ERASURE “definitely found (their) mojo again with this record”. The songs were written on synthesisers, rather than, traditionally on the guitar, which made them more immediate and free flowing. ‘The Violet Flame is a bold celebration of vintage ERASURE-sque sounds, filled with tuneful, orotund songs, made up of robust melodies and empowering lyrics.

Photo by Joe Bilworth

The first single ‘Elevation’, which sees no less then nine versions of the track on the CD single format, is a joyous celebration of life and love that only ERASURE can portray in such a hedonistic manner and with such euphoria. From the start, the track hits the listener with amazing amount of energy. Starting with a vocal intro by Andy, it beautifully transcends into a sheer “elevation” of emotions.

As one would expect from the duo, the song does not disappoint as a cheerful dance track, perfect for letting your hair down and doing the campest of dances to some interesting synth combos.

Musically it is a mixture of mainly modern digital sounds, interspersed with analogue gems. All in all, it is a great, representative choice for a single. The video accompanying it, has neither Andy nor Vince in it, but, instead, a happy bunch of free-spirited young people, perfectly painting the mood of this anthem.

The opening track of the album however is ‘Dead Of Night’, which hits the listener with a heavy synth sound and exquisite vocals from Andy that are more ‘Wonderland’ than ‘Tomorrow’s World’; it’s a very different style to the same titled DEPECHE MODE song from 2001’s ‘Exciter’, mixing both digital and analogue sounds.

‘Elevation’ proudly follows, before the vibrant ‘Reason’ with its piano intro over a complicated synth section and Andy’s vocal, creating an exhilarating, full-bodied dance track. The song offers elements of vintage ERASURE sounds intertwined with newer, digitally enhanced melodies. ‘Promises’ is yet another up tempo, rhythmic, and sonorous gem, filled with layered synth sounds, followed by ‘Be The One’, seemingly a ballad at first, yet evolving into a beautiful tune, reminiscent of the tracks from ‘I Say I Say I Say’.

‘Sacred’ is yet another vintage ERASURE tune, true synthpop at its best and this song, too, shares its title with DEPECHE MODE’s ‘Music For The Masses’ track. The soothing melody of ‘Under The Wave’ makes you imagine an intimate, yet epic ocean journey of life, with skilfully written lyrics embedded in electronic sounds.

‘Smoke and Mirrors’ offers a hypnotising opening, creating an atmosphere of suspense continuing throughout a track which is slower than the other songs on the album. Andy Bell’s beloved Eurotrance sound shines through on ‘Paradise’ which has been compared by Brian Mansfield of USA Today to Giorgio Moroder. The album closes with ‘Stayed A Little Late Tonight’, a classic tune depicting a complicated love story over a synth background and simple piano elements.

In spite of lacking powerful gay anthems like ‘Love To Hate You’, ‘The Violet Flame’ is a solid record, providing pleasure to the ear for synthpop and electronica fanatics, as well as any easy listening or dance music fan. The Violet Flame is a must have for any self-respecting synth pop fan, it truly is amazing!

‘The Violet Flame’ is released by Mute Artists on a variety of formats. Please visit http://www.pledgemusic.com/projects/erasure for more information

ERASURE’s 2014 European tour includes:

Belfast Ulster Hall (8 Nov), Dublin Olympia (9 Nov), Dublin Olympia (10 Nov), Reading Hexagon (12 Nov), Southampton Guildhall (13 Nov), Reading Hexagon (14 Nov), Nottingham Royal Concert Hall (15 Nov), Guildford G Live (16 Nov), Bristol Colston Hall (17 Nov), Aberdeen Music Hall (19 Nov), Edinburgh Corn Exchange (20 Nov), Glasgow O2 Academy (21 Nov), Brighton Dome (23 Nov), Cardiff St. David’s Hall (24 Nov), Preston Guildhall (25 Nov), Newcastle O2 Academy (28 Nov), Wolverhampton Civic (29 Nov), Manchester Apollo (30 Nov), Cologne Palladium (4 Dec), Dresden Schlachthof (5 Dec), Hamburg CCH1 (7 Dec), Berlin Columbiahalle (9 Dec); Aarhus Musikhus (10 Dec), Copenhagen TAP (11 Dec), London Forum (14 Dec), London Forum (15 Dec)

http://www.erasureinfo.com/

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Text by Monika Izabela Goss
22nd September 2014

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