Tag: Neil Arthur (Page 4 of 7)

NEAR FUTURE Ideal Home

15 May 2018 /

Neil Arthur and Jez Bernholz are NEAR FUTURE, a project featuring the BLANCMANGE front man and the Brighton based artist who also co-founded the Anti Ghost Moon Ray art collective that spawned GAZELLE TWIN , ROSEMARY LOVES A BLACKBERRY and ANNEKA.

Their debut album ‘Ideal Home’ has been several years in the making, constructed through the modern medium of remote collaboration, although the pair have shared a stage on numerous occasions, notably on BLANCMANGE’s Semi Detached’ tour.

With both Arthur and Bernholz being vocalists as well as musicians, the pair experiment with voice-derived textures in NEAR FUTURE perhaps more than with their other work. Opening with the delightfully sombre ‘Ideal Home’ title track, it is a fractured number which takes a detached dual vocal into Eno-produced TALKING HEADS territory with a gently tribal rhythmic feel and asks “should I be full of regret?”

Meanwhile, ‘Field This’ is centred around a hypnotic bass mantra and a bleeping backbone surrounded by an impressionistic fourth world choir, as Arthur points to a period “pre-Madonna” while surreal lyrics recall “I remember when you were freshly peeled” before asking to “try semaphore”.

‘Overwhelmed’ captures shrill strings cocooned in an aural cavern with a claustrophobic Neil Arthur lead vocal that while recognisable, is quite different from anything by BLANCMANGE. The appropriately titled ‘Thought Terminating In Your Night’ sees Arthur’s voice raw and exposed before an eerie metronomic backdrop builds around him. The instrumental ‘Come And Play’ adopts a quite menacing atmosphere of synthetic chorals.

Based around a repetitive synth line, the spoken word art piece ‘Dawn’ features a skewed Bernholz reciting images of “coffee headaches” over sustained guitar sweeps and a building percussive rumble alongside uneasy thoughts of “teeth that felt like glassware”. But there’s the most amazing and chilling lead shimmer on ‘Gap In The Curtain’; driven by a primitive drum box, it comes over slightly like a contemplative OMD reimagining ‘Sad Day’… yes “you couldn’t make it up”.

Another spoken-word piece ‘Kites Over Waitrose’ is almost poetry over electronic backing with some exotic acoustic sounding Oriental textures where Arthur talks of the “scattering masses”, before closing with the sub-drone drama of ‘Bulk Erase’. Laced with a melancholic droll where “so much needs fixing but so little time”, Arthur takes the Eno-esque atmosphere into his own green world for “one thing at a time”, with the closing synthesized heartbeat echoing ULTRAVOX’s ‘Just For A Moment’.

‘Ideal Home’ is a fine debut record from NEAR FUTURE, and it’s one that sits well next to Neil Arthur’s BLANCMANGE and FADER as well as Jez Bernholz’s own brand of eccentric pop. It’s an extremely prolific period for Neil Arthur and with another BLANCMANGE album ‘Wanderlust’ on the way in the Autumn, there will be even more escapist expressionism to come.

‘Ideal Home’ is released by Blanc Check Records on 25th May 2018, available in vinyl LP and CD formats, pre-order from https://nearfuture.tmstor.es

A NEAR FUTURE live show plus Q & A with Neil Arthur and Jez Bernholz takes place at The Institute of Light, 10 Helmsley Place, London E8 3SB on Thursday 6th September 2018

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Text by Chi Ming Lai
15th May 2018

NEAR FUTURE Interview

28 April 2018 /

Photo by James Styler

Swelling in sonic density, NEAR FUTURE’s ten-track debut album ‘Ideal Home’ is an enjoyable experimental collection of songs and soundscapes.

From the art pop of the album’s title track and the serene ‘Gap In The Curtain’, to spoken word set pieces like ‘Dawn’, all blended in with assorted field recordings and neo-instrumentals, the album showcases the music combination of Neil Arthur and Jez Bernholz.

Arthur is best known as the front man of BLANCMANGE, while Bernholz will be remembered by some as the opening act on 2015’s ‘Semi Detached’ tour, having issued his first long player ‘How Things Are Made’ the year via the Anti Ghost Moon Ray art collective he co-founded with GAZELLE TWIN.

Having been involved in five albums since 2015, Neil Arthur is probably at the most prolific stage of his career. As well as juggling BLANCMANGE, there has also been FADER with Benge, resulting in the ‘Ideal Home’ album being several years in the making.

NEAR FUTURE kindly took time out to chat about their first full length fruit of labour and described how their partnership has allowed each of them to think outside of their regular artistic boxes to produce a quite unusual but accessible body of work.

Photo by GMB18

How would you each describe NEAR FUTURE compared with other projects you’ve been involved in?

Neil: Freeform. Good to share the work load. Half the pain, twice the gain!

Jez: Definitely. It’s been freeing as well, from a songwriting perspective. A lot less pressure than I put on myself as a solo artist.

You’ve shared live bills together but how was the bones of this album constructed? Has it been a lot of remote work?

Jez: I felt that it evolved from the email exchanges and anything goes approach, to when we prepared for our first live performance at Sensoria. Those rehearsals cemented everything for me, it gave the songs more structure and coherence.

Neil: Mainly by remote, with other parts on our meetings. The Sensoria cementing experience, followed by a trip to the home of gravity.

Being musicians of different generations, where did you find your common ground in influences and motivations?

Neil: No boundaries, anything goes. Discussions on lack of sleep and emergency repairs. Mundane everyday tasks, often became the detail of our focus I think.

Jez: The lyrics for me, ending the poetry in the everyday. We exchanged music by others and I discovered something new. I felt that subliminally we were both thinking of Michelson, NEU! and HARMONIA, but we never explicitly talked of other artists, it seemed to just gel naturally. Maybe I shouldn’t think too hard for fear of breaking the magic!

Photo by Richard Price

With you both being vocalists as well as musicians, how did you decide who would sing lead on particular tracks?

Neil: I think we only once discussed who would do the vocals on one song, ‘Dawn’.

We’d send ideas to each other, eventually it’d be time for a voice and somehow one appeared. A bit like choosing another synth sound really, oh yes, except there’s the words too.

Jez: My own view originally was that whoever wrote the music, the other person would eventually add a vocal to it. It didn’t quite end up that way but it definitely started in that way. I actually remember the track ‘Ideal Home’ coming more musically from Neil as a starting point and I finished it with the lyrics and vocals. ‘Overwhelmed’ came more from an inspired Neil vocal in response to some music that I had written. But in the end, it was just going instinctively with what felt right and trying out different things.

As a result of that, there appears to be a lot more experimentation in NEAR FUTURE with vocal texturing and processing?

Jez: Without any pressures with this project, I was definitely a chance to take that process further. I enjoyed the idea of Neil’s voice being so familiar to so many people and perhaps producing it in a way that would be totally unexpected, like on the track ’Thought Terminating’ where, as Neil says, it definitely fits with the music and the lyrics.

Neil: It seemed to fit not only the music and field recordings, but also the lyrics on some tracks.

The album’s title track ‘Ideal Home’ was also the first single, what do you remember of its genesis?

Neil: Jez started this idea off and wrote the lyrics. I chopped stuff up and moved the arrangement around a bit to fit the sounds added. Oh hold on… scrap that, it must have been another song. I’ll have to look through my hard drive, to find the origins of this. No doubt the title would have been changed knowing me.

Jez: I remember it completely the other way around! This was the first project that we did together and Neil had the basis track written and I did chop it up a lot and added the vocals and lyrics. Neil responded by adding his vocal and some other synth parts.

Neil: I found it. Of course, Jez is correct, I started it off and it was called ‘Pallet’ and stuck in my BLANCMANGE hard drive.

Photo by Richard Price

There’s a tribal rhythmic feel on a number of tracks?

Neil: As Jez mentions, it just felt right. Sometimes as you listen through to the song or parts that make up the track, you start to hear other stuff, that isn’t physically recorded, but is suggested by the interplay of what has been printed.

Jez: I think it just felt right, particularly on ‘Dawn’, like an angry pagan army coming over the hills with the sunrise behind them, some kind of reckoning; it somehow seemed appropriate.

You got a most amazing and chilling lead shimmer on ‘Gap In The Curtain’?

Jez: It’s a very, very heavily stacked combination of sounds from a PSS-170, about 40 different layered guitars, sax and a synth made from vocals and it just keeps building. Lots of reverb too. It really turned out nicely and it’s one of those elements that keeps the track unique to us, I don’t think it would be easily replicated.

‘Kites Over Waitrose’ is a great title and almost poetry over electronic backing, what inspired that?

Neil: Pincer movement panic buying! Jez sent some music over and we weren’t sure if it would be best left as an instrumental as I thought it worked without words. A while later, rifling through notes, I had these words and tried it out with the music, and our field recordings.

Jez: I love Neil’s lyrics for this. Again, I think he just captures the poetic mundanity of these otherwise forgettable moments. The title really does capture the duality of that.

Another spoken-word piece is ‘Dawn’…

Neil: I couldn’t sleep, so went to do some writing and heard this amazing early dawn chorus, that I recorded on the phone.

When I listened back to it, there in the background was this mechanical throbbing rhythm. I enhanced that with synths, then Jez took over and came back with these wonderful words. Last, we added the feedback sounds.

Jez: I’d had some words for a while which I could never really make fit without them sounding rushed.

When I saw Neil’s working title ‘Dawn’ for the music, it made me think about how my life had changed since the birth of my son, and I revisited those words with more clarity about what they meant, added more to them referring not only the past, but also the near future. The pace of the music gave me the impetus to speak slowly, and they worked nicely.

‘Field This’ has a quite mechanical backbone, is the “prima-donna” referring to anyone in particular and where is this “car park” that was?

Neil: Ha ha! Yes well, last thing first, the car park was in Leeds and first thing last, the story line is set in the time before Madonna. So it’s pre-Madonna. Not though, pre-Maradonna!

The neo-instrumental ‘Come & Play’ has a quite claustrophobic atmosphere?

Jez: It is definitely about that, like being allured to stay somewhere that’s maybe not quite right, there’s something sinister underneath it all.

Is NEAR FUTURE likely to hit the road alongside your other commitments?

Neil: No doubt.

Jez: ASAP.

ELECTRICITYCLUB.CO.UK gives its grateful thanks to NEAR FUTURE

Special thanks to Steve Malins at Random PR

‘Ideal Home’ is released by Blanc Check Records on 25th May 2018, available in vinyl LP and CD formats, pre-order from https://nearfuture.tmstor.es

https://www.facebook.com/futureisnear/

https://twitter.com/_nearfuture

Text and Interview by Chi Ming Lai
28th April 2018

BLANCMANGE Unfurnished Rooms

21 September 2017 /

Following the collaborative project with Benge as FADER, this relationship is perpetuated with the John Foxx sideman tackling production duties on the new BLANCMANGE album ‘Unfurnished Rooms’.

The eponymous album opener is an intriguing mixture of guitar textures, interlocking monosynths and Linn Drum programming. Neil Arthur’s vocals convey a real sense of loss and a brilliant chanting “search, search!” helps tie the whole piece together. Always one for incorporating ‘kitchen sink’ drama lyrics into his songs, Arthur’s killer line here is “…no amount of online shopping will cover the loss”.

‘We Are The Chemicals’ is an understated, but ultimately catchy track, with a lyric which sounds part news report and part early HUMAN LEAGUE with a “…chemical spillage on a trading estate in Altrincham” forming the centrepiece for the song. Arthur himself provides guitar on the track and a simplistic square wave synth and early Roland JP-style arpeggiator fills in the mid-range on the piece. The track’s beauty lies in that it doesn’t try too hard and in its concluding 50 seconds hits a wonderful, but still low-key climax with some additional soaring keyboard parts.

‘Share it Out’ starts out like a sped-up long distance cousin of MARTHA & THE MUFFINS New Wave classic ‘Echo Beach’ before Arthur’s flanged psychedelic vocals are joined by an early Roland drum machine combo and heads off in an entirely different direction altogether. Very hypnotic and almost ambient in places, ‘Share It Out’ utilises the kind of Eastern melodic scale that made ‘Living On The Ceiling’ such a successful culture-splicing track.

The downtempo ‘Wiping the Chair’ utilises a combination of NEW ORDER-style guitars and OMD-influenced synth textures and is a highlight here; low-key in its delivery, Arthur delivers an emotional song about reuniting with a long-lost friend asking them to “Come back soon”. ‘Anna Dine’ has a wickedly catchy chord progression and features the kind of interlocking monosynth work that made the early DEPECHE MODE and YAZOO albums sound so effective, it also has another classic brutalist Arthur line in “I’ve taken the earth wires from most of your plugs”. ‘In December’ is another atmospheric slow tempo track and another highlight here; with an ambient soundscape aesthetic which drifts over the listener effortlessly.

With its combo of squealing guitar riff-age and discordant modular electronics ‘Gratitude’ takes its cues from NINE INCH NAILS to the point where one could imagine Trent Reznor taking the lead vocal on this track. An angry-sounding Arthur really lets loose here and it provides a welcome rise in tempo on the album.

The song which is most highly anticipated here is the collaboration with John Grant; the closing 8 minute piece features Grant on backing vocals and piano. ‘Don’t Get Me Wrong’ winds the tempo back down again and despite a hooky chorus line, doesn’t quite match some of the earlier highlights on ‘Unfurnished Rooms’.

With the current OMD album setting an extremely high bar for how an electronic record should sound sonically both mix and mastering-wise, the only drawback with ‘Unfurnished Rooms’ is the imagining of how it would sound with a bigger and more expansive production job. Some of the elements of the album feel like they would benefit from more layers (especially Arthur’s vocals) and a finer attention to detail.

For many listeners though, ‘Unfurnished Rooms’ will be fine addition to the BLANCMANGE canon and Arthur’s wonderfully personal songwriting skills show no sign of diminishing anytime soon.

‘Unfurnished Rooms’ is released by Blanc Check on 22nd September 2017 in a CD, vinyl LP and digital, available from http://blancmange.tmstor.es/

BLANCMANGE 2017 live dates include:

Brighton Concorde 2 (5th October), London 229 (6th October), Southend Chinnery’s (19th October), Southampton 1965 (20th October), Darwen Library (25th October), Newcastle Boiler Shop (26th October), Edinburgh La Belle (27th October), Glasgow Audio (28th October), Bristol The Fleece (2nd November), Nottingham Rescue Rooms (4th November)

BLANCMANGE also play ‘The Tour of Synthetic Delights 2’ with HEAVEN 17, dates include:

Sheffield Foundry (10th November), Liverpool Hangar34 (11th November), Hull Welly (17th November), Manchester Academy2 (18th November), Coventry Copper Rooms (24th November), Norwich Waterfront (25th November)

http://www.blancmange.co.uk/

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Text by Paul Boddy
21st September 2017

A Short Conversation with BLANCMANGE

12 September 2017 /

To say that Neil Arthur is in the most prolific stage of his career would be an understatement.

Since BLANCMANGE returned in 2011 with ‘Blanc Burn’, there have been a further three long players ranging from the dark pop of ‘Semi Detached’ and the beautiful instrumentals of ‘Nil By Mouth’ to the raw minimal experimentation of ‘Commuter 23’. And this is without the recent retrospective box set ‘The Blanc Tapes’ and Arthur’s side projects as FADER with Benge and NEAR FUTURE with Jez Bernholz.

September 2017 sees the arrival of the eighth BLANCMANGE long player ‘Unfurnished Rooms’; co-produced by Benge and featuring contributions from renowned guitarist David Rhodes and the towering figure of John Grant, ‘Unfurnished Rooms’ is loosely based around the theme of feeling of being lost in a dream. As Arthur sings on the title track “no amount of online shopping will cover for the loss”.

Neil Arthur kindly spoke to ELECTRICITYCLUB.CO.UK about ‘Unfurnished Rooms’, working with John Grant and his thoughts on the new LCD SOUNDSYSTEM album…

The ‘Unfurnished Rooms’ title song is a great opener, is that a metaphor for this world of joyless hedonism that society appears to be living in?

You know what I’m like, I prefer there to be less explanation as to what the lyrics may allude to, so that it leaves ambiguity. It would be like if I was a film maker, before you sat down and watched it, I told you what happened at the end! *laughs*

I like people to make their own minds up and obviously, we are all able to observe what’s happening around us, but some of the stuff that goes on in your head, only you know about and it can take you a long time to fathom that out! So it’s not just a metaphor, the idea of unfurnished rooms can mean unfinished work or a journey as well.

I noticed there are what appear to be Linn LM1 drum sounds on ‘Unfurnished Rooms’, how do you go about constructing a track these days?

This album, I worked on a laptop… I write on guitar or synths and put everything onto either Logic or Ableton, it was sort of half and half. I used a variety of VSTs and a few old synths to make my noises and plus some guitar. I was fortunate enough to work with Benge over the last couple of years including the FADER album and we thought it would be a really good idea for Benge to replace the VST sounds on the drum parts and rhythm sections with the real thing or analogue synth sounds.

Benge has got the real equipment and not only is he a fantastic programmer, engineer and producer, but he’s also a good drummer… he played it all in so there’s a bit of movement there too. But there’s still VSTs on there and my guitar as well as David Rhodes, who’s done much better guitar than I can manage.

So where does FADER end and BLANCMANGE begin, what are the rules of engagement?

They are very different beasts despite both of us being involved. For example, the FADER album ‘First Light’ started with Benge sending me backing tracks and I responded by adding vocals and a few melody lines; after a few exchanges, we then got together in the studio to mix it.

With BLANCMANGE, I write the music and record most of the parts. But in this case, I took the album to Benge and we took it apart to replace the VST rhythms with the real deal and mixed it, so there’s a fundamental difference.

‘Anna Dine’, what a brilliant title, what inspired the wordplay and the song?

I’ve always enjoyed a bit of wordplay. In the first line, I’m finding space in between the normal things to write about *laughs*

Everybody, no matter who they are, those months which take up quite a bit of their time, all those bits joined together for me make a kind of existence. I’m very interested in that mundane aspect of those insubstantial moments, because if there wasn’t a space, there would be nothing to hold us all together.

‘Gratitude’ unleashes some aggression…

I had this groove going that I thought was a bit like ‘Honky Tonk Women! So I was mincing around thinking I was Mick Jagger! *laughs*

I remembered seeing LCD SOUNDSYSTEM on TV and James Murphy was bashing away on this cowbell and it really made me laugh, I thought “there aren’t enough cowbells in songs”; so I had this cowbell thing going! So in all the darkness that can be going on with BLANCMANGE, I was having fun with this music.

This idea of a few simple lines came together about how I was feeling about things and it just came out. If people need a reference, it’s a bit like how I feel when I sing ‘I Can’t Explain’, sometimes it’s good to get it out of your system.

And on the other side of the coin, there’s the sedate Eno-esque ‘In December’…

I don’t sleep well so if I can’t, I get up and do something like write. It was absolutely pouring it down outside although it wasn’t particularly cold, so I opened the doors and recorded the sound of this rain and I just started thinking about the seasons passing.

In terms of it sounding Eno-esque, there’s no intention but thinking about the stuff we did on ‘Irene & Mavis’, you end up trying to fit in somewhere and one of the big influences was ENO & CLUSTER without a doubt, as well as things off ‘Another Green World’ and ‘Evening Star’ with Fripp… when David Rhodes came along to do some guitar, he wanted to try some E-Bow over the top.

It was a feeling I had, lines like “January, don’t p*ss me off, you’re just a June in a mask”, I’m having a bit of fun with the lyrics because the depths of winter can be quite difficult to deal with for some people, I just wanted to write about it.

How did John Grant end up on ‘Don’t Get Me Wrong’?

It was through my manager Steve Malins, he manages WRANGLER and they were doing some stuff with John to celebrate the 40th Anniversary of Rough Trade at The Barbican. Steve got talking to John who asked who else he looked after and Steve mentioned BLANCMANGE… it turned out John was a big fan and really knew his stuff.

John’s got such a fantastic voice and great songs so when I heard about this, I thought “I wonder…”, so Steve passed this song ‘Don’t Get Me Wrong’ onto him and John said it would be an honour, which was flabbergasting to me! He did this piano part and sang along with the chorus with this beautiful backing, so it was an absolute delight when I got it back.

I love the line in ‘Don’t Get Me Wrong’ that goes “you look so well… in your online profile”… what’s your take on using the web now for music promotion, but also how it practically rules people’s lives?

How long can you keep your phone in your pocket for? *laughs*

This might answer your question; we were playing in Leeds with HEAVEN 17 and I came on stage. A lot of people were there which was great, but quite a few were watching us through their screen, these little screens! I just said “Watch us”, not in a conceited way, “Don’t watch that! I mean hold it there but don’t look at it”! I’m not immune cos I fall foul of it as well, the problem is that phones are now capable of so much, I write and record lyrics on it, I use it was a torch… I wish in a way I just had a phone that you could just call or text.

But we’re in this post-modern world and it’s quite interesting how social media works. It’s a fantastic way of communicating with people who are interested in your music or finding out about other types of music. But because everything’s accessible immediately, everybody’s got contact… so for example, if you bought a record in the 1970s-1980s, what would you do if there was something wrong with it?

…I’d take it back to the shop!

Ok, so you’d take it back to the shop… so somebody buys a record now, and I think this is quite funny, I get people contacting me! I think it’s lovely and most people know I enjoy a chat and online, I answer a lot of the stuff.

So you get someone going “I bought this off Amazon and two CDs are damaged”… I mean, I’m sorry that they are, but I thought for a moment, and I’m not saying I’m comparing myself to him… could you imagine in the ‘70s if I’d had bought Brian Eno’s album and I contacted him to say my record’s scratched?? *laughs*

But this is the modern world isn’t it? Everyone is contactable and 99% of it is fantastic, and that comment did tickle me.

BLANCMANGE are out on tour this Autumn. Now you’ve been back a few years, have you a photo-fit of today’s BLANCMANGE fan and have worked out a live set that can keep you and the audience happy?

I could to a certain extent, what I noticed on the last tour particularly was the audience is changing in that there’s a younger element, whereas when we restarted, it was people who had seen us first time round. We’ve still got those people thankfully and there are inquisitive people from a different generation who are interested in electronic music.

As for keeping people happy, I’m obviously going to promote the new album, but I wouldn’t be doing the new album if it wasn’t for the fact that I’d done all that music with Stephen years ago. So of course, I’d be giving them some blasts from the past. The other thing is since 2011, there’s been more material released than there was first time round. We have a very different audience now and we’re not going to get in the charts, it’s a different world.

I’m not trying to play the game, I’m writing songs that I want to write. Stephen and I did that all those years ago, but we were a lot younger and that’s what we wanted to do. Now what I want to do, I’ve opened the dark door and hopefully, there’s some people who’ll get some pleasure from the stuff that’s old and new. I’ve got to be honest to myself and do what I feel, first and foremost; hopefully, people will come along for the ride.

You have BLANCMANGE, NEAR FUTURE and FADER on the go, plus had the box set and deluxe reissues… how do you manage to juggle so many balls?

Well, I’ve got a very good manager and I think I’m driven. I had the opportunity to work with Benge which was fantastic and I’m looking forward to doing more. We had to work out “how do we finish that and get it released?”, make sure the boxed set was running to schedule and leave a space to get ‘Unfurnished Rooms’ out, so that was time management really. I’m happy when I’m busy. So Jez Bernholz and I have been exchanging files to finish off the NEAR FUTURE album which will be due next year. I’m keen to move forward all the time.

What are your thoughts on the new LCD SOUNDSYSTEM album ‘American Dream’?

I’m a big fan, I’d heard a few songs earlier in the year and was wondering how they were going to fit together in an album and when I heard it in its entirety, I really enjoyed it and thought it was bloody great. It will be on again without a doubt. It’s fantastically referential, it references so much. James Murphy is a very clever man, there’s the Eno connection, the Frippertronics side of things, TALKING HEADS is in there, there’s a bit of everything and he even references himself which is quite remarkable *laughs*

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Neil Arthur

Special thanks to Steve Malins at Random Management

‘Unfurnished Rooms’ is released by Blanc Check on 22nd September 2017 in CD, vinyl and digital formats, pre-order from http://blancmange.tmstor.es/

BLANCMANGE 2017 live dates include:

Brighton Concorde 2 (5th October), London 229 (6th October), Southend Chinnery’s (19th October), Southampton The 1865 (20th October), Darwen Library (25th October), Newcastle Boiler Shop (26th October), Edinburgh La Belle Angele (27th October), Glasgow Audio (28th October), Bristol The Fleece (2nd November), Nottingham Rescue Rooms (4th November)

BLANCMANGE also play ‘The Tour of Synthetic Delights 2’ with HEAVEN 17, dates include:

Sheffield Foundry (10th November), Liverpool Hangar34 (11th November), Hull Welly (17th November), Manchester Academy 2 (18th November), Coventry Copper Rooms (24th November), Norwich Waterfront (25th November)

http://www.blancmange.co.uk/

https://www.facebook.com/BlancmangeMusic

https://twitter.com/_blancmange_

Text and Interview by Chi Ming Lai
12th September 2017

BLANCMANGE The Blanc Tapes

3 July 2017 /

Daniel Miller referred to BLANCMANGE affectionately as “the maiden aunts of electronic music”, while Moby considers them “possibly the most under-rated electronic act of all time”.

They came to prominence towards the end of the second generation of Synth Britannia. Their first EP ‘Irene & Mavis’ came out in 1980 before ‘Sad Day’ was chosen by Futurist DJ Stevo for inclusion on his influential ‘Some Bizzare Album’ which also showcased DEPECHE MODE, SOFT CELL, THE THE and B-MOVIE in 1981.

Following support slots with JAPAN and DEPECHE MODE, Neil Arthur and Stephen Luscombe signed to London Records. Releasing their now classic album ‘Happy Families’ in Autumn 1982, it featured their breakthrough hit single ‘Living On The Ceiling’ while ‘I Can’t Explain’ remains one of the most blistering album openers of the era! Fusing the rhythmic dash of TALKING HEADS with the intensity of JOY DIVISION plus the melodic framework of OMD and YAZOO over the top, Arthur and Luscombe won critical admiration and respectable sales for their debut.

On the back of further hit singles in ‘Blind Vision’ and ‘Don’t Tell Me’, the second brilliantly titled long player ‘Mange Tout’ became the duo’s biggest seller in 1984. Having first featured on ‘Living On The Ceiling’, the Indian musicians Pandit Dinesh on tablas and Deepak Khazauchi on sitar were given greater prominence on the album, while another surprise came with their brilliant cover of ABBA’s ‘The Day Before You Came’. This was considered an odd but daring decision at the time. But with ABBA now fully absorbed into mainstream popular culture and the ‘Bollywood’ sound very much part of modern pop, ‘Mange Tout’ could be considered a cultural prophecy…

However, with synthpop now no longer in-vogue, there was a lukewarm reception for the third album ‘Believe You Me’ released in 1985, despite good crossover songs such as ‘Why Don’t They Leave Things Alone?’ and ‘Lorraine’s My Nurse’. This was leading to a blanc burn out and reflected in the electro-funk of ‘22339’ with a proclamation from Arthur that “I feel like I’m losin’ my mind”. Ultimately, it led to Arthur and Luscombe calling it a day in order to protect their friendship following a concert at the Royal Albert Hall in 1986.

Edsel Records release the first three BLANCMANGE albums as expanded 3CD editions which are also compiled as a deluxe 9 disc set entitled ‘The Blanc Tapes’. The bonus discs gather together B-sides, BBC radio sessions, live material and previously unreleased demos and it is these that will be of most interest to BLANCMANGE fans. Meanwhile, the horribly unsympathetic liner notes by Alan Robinson that adorned the 2008 Edsel reissues have now been replaced by commentary from Neil Arthur.

From their first John Peel Session included in the deluxe ‘Happy Families’ extras, ‘I Would’ is dark and menacing while ‘Running Thin’ is toned in resignation; both now actually sound more like BLANCMANGE in the 21st Century than anything from the first three London long players. The original downtempo ‘Sad Day’ is also present while the lost demo ‘Melodic Piece’ is a marvellously elegant instrumental that wouldn’t have sounded out of place on ‘Nil By Mouth’, the voxless BLANCMANGE album issued in 2015. Meanwhile, the organ laden ‘Black Bell’ is an enjoyably creepy lo-fi demo, but ‘Holland’ springs a major surprise with some prominent guitar in the vein of THE CARS!

The ‘Mange Tout’ bonuses include a stark electronic demo entitled ‘How Time Became The Tide’ which is nothing like anything on its parent album, thanks to its science fiction vibe. The claustrophobic and psychedelic ‘If You Want To Be Hip’ is also very different but again, points to how BLANCMANGE are now, rather than then.

The number of unreleased demos from the ‘Believe You Me’ sessions circa 1985 indicates how prolific BLANCMANGE had become. Although they were now considered a mainstream pop act, the moodier, spacey experiments inspired by the earlier days of BLANCMANGE continued with recordings such as ‘A Remedial Course’, another instrumental that wouldn’t have sounded out of place on ‘Nil By Mouth’.

But on the other side of the coin and revealing some of Neil Arthur’s crooner tastes, there’s a fun ‘Switched On Nashville’ styled cover of ‘Gentle On My Mind’, a Grammy Award winning standard previously recorded by Dean Martin and Glen Campbell. The summery ‘Scream Down The House’ gets rescued from B-side obscurity, but the remaining song demos are perhaps not as enticing as the various instrumentals, although Arthur uses some interesting electronic pitch treatments on his voice for ‘Reach Out’.

As for the live material gathered across the three packages, they quite simply document a band getting bigger and bigger as the venues step up from the little BBC Paris Theatre to Hammersmith Palais to Hammersmith Odeon (where “Bowie killed Ziggy”) in the space of less than three and a half years!

Whether you really need seven versions of ‘Blind Vision’ or six of ‘Feel Me’ is debatable, although the Martyn Ware produced demo of the former captures the rather sombre origins of what was to become a dancefloor smash. Whatever your view, they’re all here and nothing compared to the twelve takes of ‘Promised You A Miracle’ that came with the deluxe edition ‘New Gold Dream’ put out by SIMPLE MINDS!

As its predecessors ‘Blanc Burn’, ‘Semi Detached’, Nil By Mouth’ and ‘Commuter 23’ have indicated, the soon-to-be released ‘Unfurnished Rooms’ continues BLANCMANGE’s exploration into the darker themes and colder sounds that signify a return to the art school roots of their original demos unveiled on ‘The Blanc Tapes’. While Stephen Luscombe has been unable to be involved since ‘Blanc Burn’ due to ill health, Neil Arthur continues to fly the flag.

It’s interesting to think that the 21st Century incarnation of BLANCMANGE has now produced more albums than the original one. And that is something to celebrate… a pint of curry anyone?

With thanks to Steve Malins at Random Music Management

‘The Blanc Tapes’ is released by Edsel Records, while ‘Happy Families’, ‘Mange Tout’ and ‘Believe You Me’ are each available as separate 3CD deluxe editions from 4th August 2017. Pre-order via the Official Blancmange Store at https://blancmange.tmstor.es/cart/product.php?id=33045

The new album ‘Unfurnished Rooms’ is released by Blanc Check on 22nd September 2017

BLANCMANGE 2017 live dates include:

Brighton Concorde 2 (5th October), London 229 (6th October), Southend Chinnery’s (19th October), Southampton The 1865 (20th October), Darwen Library (25th October), Newcastle Boiler Shop (26th October), Edinburgh La Belle Angele (27th October), Glasgow Audio (28th October), Bristol The Fleece (2nd November), Nottingham Rescue Rooms (4th November)

BLANCMANGE also play ‘The Tour of Synthetic Delights 2’ with HEAVEN 17, dates include:

Sheffield Foundry (10th November), Liverpool Hangar34 (11th November), Hull Welly (17th November), Manchester Academy 2 (18th November), Coventry Copper Rooms (24th November), Norwich Waterfront (25th November)

http://www.blancmange.co.uk/

https://www.facebook.com/BlancmangeMusic

https://twitter.com/_blancmange_

Text by Chi Ming Lai
3rd July 2017

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