Tag: New Order (Page 3 of 20)

25 SONGS NOT SUNG BY THE LEAD VOCALIST

31 December 2022 /

Wikipedia says “The lead vocalist in popular music is typically the member of a group or band whose voice is the most prominent melody in a performance where multiple voices may be heard”.

It also adds “The lead vocalist may also be called the main vocalist or lead singer. Especially in rock music, the lead singer or solo singer is often the front man or front woman”. A BBC Radio 4 parody series ‘Radio Active’ first made the joke in 1981 that “Ringo Starr isn’t the best drummer in THE BEATLES” and in a similar way, it could be said that Bernard Sumner is not the best singer in NEW ORDER.

However, the lead vocalist is considered the figurehead and often the character of a band so regardless of what is said publicly about democracy, a hierarchy inevitably ensues.

But what happens when another member of the band takes their turn at the front? In most cases, it is just a one-off although sometimes it becomes recurring feature over successive albums. These tracks can meet with varying degrees of success, but there have even been occasions where the second vocalist eventually becomes lead singer! However, there have been strange situations where a less vocally competent instrumentalist is unhappy about the attention that a singer is getting and insists on switching roles, thus ensuring that the band does not play to any of its strengths!

So taking things back to front and with a limit of one track per act, ELECTRICITYCLUB.CO.UK presents a list of 25 songs not sung by the lead vocalist in chronological, then alpnabetical order…

ULTRAVOX Mr X (1980)

Having been an idea that dated back to the John Foxx-era of ULTRAVOX just before his departure, the KRAFTWERK influenced robotic spy story of ‘Mr X’ was voiced by Warren Cann while Midge Ure was settling in as the band’s new lead vocalist. The track had begun as ‘Touch & Go’ and been premiered live. In a gentlemen’s agreement, keyboardist Billy Currie gave his melody of ‘He’s A Liquid’ in return for Foxx’s melody to ‘Touch & Go’, hence the structural similarity to ‘Mr X’.

Available on the album ‘Vienna’ via Chrysalis Records

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

DEPECHE MODE Any Second Now (1981)

Although now known as a songwriter, Martin Gore had contributed an instrumental ‘Big Muff’ and one song with lyrics ‘Tora! Tora! Tora!’ on DEPECHE MODE’s debut album. Written by Vince Clarke like most of ‘Speak & Spell’, ‘Any Second Now’ was a beautiful minimalist set piece that stood out amongst the dance friendly synthpop tunes and suited an understated tone of expression. And so began a tradition of Gore taking on DM’s ballads instead of front man Dave Gahan.

Available on the album ‘Speak & Spell’ via Sony Music

https://www.depechemode.com/

DRAMATIS Turn (1981)

DRAMATIS were the former Gary Numan live band and while they were musically virtuoso, the band’s Achilles’ heel was vocals. RRussell Bell and Denis Haines were the quartet’s main singers and Numan himself guested on their biggest hit ‘Love Needs No Disguise’. The classically trained multi-instrumentalist Chris Payne found himself a reluctant vocalist on a song he had written called ‘Turn’; “I have never felt comfortable about my own voice” he clarified.

Available on the album ‘For Future Reference’ via Cherry Red Records

https://www.discogs.com/artist/45761-Dramatis

NEW ORDER Doubts Even Here (1981)

After the end of JOY DIVISION, Peter Hook, Bernard Sumner and Stephen Morris reconvened as NEW ORDER while recruiting Gillian Gilbert on keyboards and guitar. Synths and drum machines were taking greater prominence but not entirely. While Sumner did the majority of the vocals on their debut album ‘Movement’, it was Hooky’s fraught delivery on ‘Doubts Even Here’ and words from The Bible spoken by Gilbert that provided the album’s most glorious moment.

Available on the album ‘Movement’ via Rhino

http://www.neworder.com/

KISSING THE PINK Watching Their Eyes (1982)

Best known for the profound anti-war statement ‘The Last Film’ which entered the Top20 in 1983, KISSING THE PINK had Nick Whitecross as their lead singer. Produced by Colin Thurston, the baroque opera tinged ‘Watching Their Eyes’ saw saxophonist Josephine Wells provide a haunting impassioned vocal. Wells went on to play live with TEARS FOR FEARS but sadly, she was to later battle her own traumas as a survivor of the Marchioness boat disaster in 1989.

Available on the album ‘Naked’ via Cherry Red Records

https://www.facebook.com/kissingthepink/

CHINA CRISIS Wishful Thinking (1983)

After his OMD success, Mike Howlett produced the most synth based CHINA CRISIS long player. Utilising Emulator strings and a pizzicato sample derived from plucking an acoustic guitar string close to the bridge, ‘Wishful Thinking’ was written and sung by guitarist Eddie Lundon. A sweetly textured, melodic pop single that deserved its hit status, lead singer Gary Daly responded with ‘Never Too Late’ but that song was shelved to B-side status for sounding too similar.

Available on the album ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ via Caroline Records

https://www.facebook.com/chinacrisisofficial/

TEARS FOR FEARS The Hurting (1983)

While Roland Orzabal is more or less seen as TEARS FOR FEARS lead singer now, that is not how it was perceived at the start even though he sang their debut single ‘Suffer The Children’. Following three Top10 hit singles prior to the release of their debut album ‘The Hurting’, Curt Smith was considered the face and the voice of the band. Orzabal was main songwriter and sang lead on the title track with a more angst-ridden take than was heard on the Smith-fronted singles.

Available on the album ‘The Hurting’ via Mercury Records

https://tearsforfears.com/

YAZOO Happy People (1983)

Of Vince Clarke’s most polarising song since ‘What’s Your Name?’ for DEPECHE MODE, Alison Moyet said “That could have been the beginning of the end for us… in fact, no it wasn’t because Vince had already decided to leave. ‘Happy People’, I just tried singing it a couple of ways and I just hit him with ‘I can’t do this, you want it sung, you sing it yourself mate!’… so he sang it himself, fair play to him”. The song was an ironic send-up of middle aged political activists.

Available on the album ‘Three Pieces’ via Mute Records

https://yazooinfo.com/

BERLIN Rumor Of Love (1984)

Multi-instrumentalist John Crawford had proved himself a capable if almost anonymous singer when duetting with BERLIN front woman Terri Nunn on their 1982 breakthrough track ‘Sex (I’m A…)’. But for the B-side of the 1984 Giorgio Moroder produced single ‘No More Words’, Crawford did a lead vocal turn on the Mike Howlett-helmed ‘Rumor Of Love’ which echoed Scott Walker and ended up as a bonus track on the original edition of the ‘Love Life’ album

Available on the album ‘Love Life’ via Rubellan Records

https://www.berlinmusic.net/

OMD Never Turn Away (1984)

While Andy McCluskey was the lead singer of OMD, Paul Humphreys would see his less frequent vocalled tracks released as singles with ‘Souvenir’, ‘Secret’ and ‘Forever Live & Die’ becoming international hits. While their fifth ‘Junk Culture’ saw forays into brass sections, calypso and reggae, ‘Never Turn Away’ was a more traditional OMD ballad with Autumnal atmospheres but while it was a fine album track, it made little impression as a single release.

Available on the album ‘Junk Culture’ via Virgin Records

https://www.omd.uk.com/

PROPAGANDA Dream Within A Dream (1985)

While Susanne Freytag was the original PROPAGANDA vocalist with her stark narrative style, she soon stepped back in favour of her friend and TOPOLINOS bandmate Claudia Brücken. While Freytag’s Germanic prose remained vital on songs such as ‘Doctor Mabuse’ and ‘P-Machinery’, her vocal style suited the lead role on ‘Dream With A Dream’, a 9 minute epic which put a mighty soundtrack to accompany an Edgar Allan Poe poem which was first published in 1849.

Available on the album ‘A Secret Wish’ via ZTT Records

https://www.xpropaganda.co.uk/

KRAFTWERK The Telephone Call (1986)

On the disappointing ‘Techno Pop’ née ‘Electric Café’ album, Karl Bartos gave an assured performance in his only lead vocal for KRAFTWERK on ‘The Telephone Call’. While the assertive automated phone messages were a sharpened metaphor for female empowerment, band politics were at play when Ralf Hütter refused to let Bartos lip-synch his part on the monochromatic video although Wolfgang Flür got to mime a single phrase while cast in shadow.

Available on the album ‘Techno Pop’ via EMI Music

https://kraftwerk.com/

PET SHOP BOYS Paninaro (1986)

“Passion and love and sex and money – Violence, religion, injustice and death” went the opening phrases of Chris Lowe’s debut lead vocal for PET SHOP BOYS. Dryly spoken rather than sung, the track was a celebration of an Italian fashion cult. The middle eight featuring an ‘Entertainment Tonight’ interview saw Lowe deadpan: “I don’t like Country & Western. I don’t like rock music. I don’t like Rockabilly. I don’t like much, really, do I? But what I do like, I love passionately!”

Available on the album ‘Alternative’ via EMI Music

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

NITZER EBB Let Beauty Loose (1987)

With Douglas J McCarthy fronting NITZER EBB, the singing abilities of instrumentalist Bon Harris only came to the fore with his ‘Songs From the Lemon Tree’ lockdown live streams of solo covers often tinged with falsetto. But on the ‘That Total Age’ album, he had shouted his way through ‘Let Beauty Loose’, a typical slice of frantically paced EBM. Acting as a supersub in late 2021, Harris stood in for a hospitalised McCarthy at two NITZER EBB shows in Palm Beach and Toronto.

Available on the album ‘That Total Age’ via Mute Records

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

BOOK OF LOVE With A Little Love (1988)

Originally from Philadelphia, BOOK OF LOVE were started by school friends Susan Ottaviano and Ted Ottaviano who were not actually related. Jade Lee and Lauren Roselli Johnson joined later on and the quartet were invited to support DEPECHE MODE on two US tours while their single ‘I Touch Roses’ was reissued in a Daniel Miller remix. Although Susan Ottaviano was lead vocalist, Ted Ottaviano impressed on ‘With A Little Love’ which was co-produced by Flood.

Available on the album ’Lullaby’ via Noble Rot

https://www.bookoflovemusic.com/

CAMOUFLAGE Sooner Than We Think (1989)

German trio CAMOUFLAGE named themselves after a YELLOW MAGIC ORCHESTRA track. While Marcus Meyn was lead singer and the voice of hits like ‘The Great Commandment’, on their second album ‘Methods Of Silence’, both instrumentalists Heiko Maile and Oliver Kreyssig did a vocal turn, with the latter’s ‘Sooner Than We Think’ considered worthy enough to include on their first two Best Of compilations ‘We Stroke The Flames’ and ‘Rewind – The Best Of 95-87’.

Available on the album ‘Methods Of Silence’ via Universal Music

https://www.camouflage-music.com/en/News

KON KAN Move To Move (1989)

Despite Kevin Wynne being the voice on KON KAN’s sample heavy NEW ORDER inspired international hit ‘I Beg Your Pardon’, he was a hired hand as the mastermind behind the project was Canadian producer Barry Harris. The surprise success led to an album for which Wynne did most of the vocals for. However, Harris took the lead on the album’s title track. For the next two KON KAN albums ‘Syntonic’ and ‘Vida!’, Wynne was not recalled.

Available on the album ‘Move To Move’ via Atlantic Records

https://www.facebook.com/konkanofficial

THE HUMAN LEAGUE One Man In My Heart (1995)

Phil Oakey has often cited Susanne Sulley as the best singer in THE HUMAN LEAGUE. While she famously did a verse on the UK and US No1 ‘Don’t You Want Me?’ as well as various solo phrases on ‘(Keep Feeling) Fascination’ and ‘Heart Like A Wheel’, she didn’t get a lead vocal turn until ‘One Man In My Heart’. The format of the song fitted right in with the rise of female fronted trios like DUBSTAR, SAINT ETIENNE and PEACH.

Available on the album ‘Octopus’ via EastWest

https://thehumanleague.co.uk/

DURAN DURAN Medazzaland (1997)

After their panned 1995 covers album ‘Thank You’, DURAN DURAN were in a state of turmoil; Simon Le Bon was experiencing writer’s block while John Taylor was suffering from depression. This state of affairs led to Nick Rhodes working more closely with guitarist Warren Cuccurullo and the keyboardist taking a spoken word lead on the title track of the ‘Medazzaland’ album. Taylor left halfway through recording while the end product was only released in the US.

Available on the album ‘Medazzaland’ via Tape Modern

https://duranduran.com

LADYTRON True Mathematics (2002)

With a template similar to PROPAGANDA, LADYTRON had a singing vocalist in Helen Marnie while Mira Aroyo provided stark spoken prose in her native Bulgarian. While the latter had been an enticing subplot to ‘Discotraxx’ on the debut album ‘604’, Aroyo took the deadpan lead on the fierce ‘True Mathematics’ which opened their next album ‘Light & Magic’. Owing a debt to THE NORMAL’s ‘Warm Leatherette’, it premiered a much harder LADYTRON sound.

Available on the album ‘Light & Magic’ via Nettwerk

https://www.ladytron.com/

KID MOXIE Medium Pleasure – Marsheaux remix (2009)

KID MOXIE began as a duo comprising of Elena Charbila and Erica Zabowski, recording an EP ‘Human Stereo’ and album ‘Selector’. Although Charbila took the majority of the lead vocals in her airy continental style, Zabowski adopted more of a snarl on ‘Medium Pleasure’ with a lyric attacking cultural mediocrity. By the time ‘Selector’ was released, the pair had already parted.

Available on the album ‘Selector’ via Undo Records

https://www.facebook.com/kidmoxie

DE/VISION Kamikaze (2012)

Forming in 1988, German duo DE/VISION have been a mainstay in Europe for enthusiasts of darker electronic climes. Comprising of Steffen Keth on vocals and Thomas Adam on synths, their vast majority of their songs have been sung in English. For their 2012 album ‘Rockets & Swords’, there was a surprise in the penultimate song ‘Kamikaze’ which was not only voiced by Adam but also in Deutsch.

Available on the album ‘Rockets & Swords’ via Popgefahr Records

http://www.devision-music.de

TWINS NATALIA I Avoid Strangers (2014)

TWINS NATALIA comprised of Marc Schaffer, Steve Lippert, synth wizard Dave Hewson and singers Sharon Abbott and Julie Ruler, with the latter three from cult combo POEME ELECTRONIQUE. With classic Weimar Cabaret melodies and vibrant Kling Klang interplay, they conjured memories of holiday romances. But the uptempo ‘I Avoid Strangers’ featured Hewson on vocals, possessing a paranoia that suited the song perfectly.

Available on the album ‘The Destiny Room’ via Anna Logue Records

https://www.facebook.com/twinsnatalia

CHVRCHES High Enough To Carry You Over (2015)

The two Martin Doherty vocalled tracks on ‘The Bones Of What You Believe’ polarised opinion and his voice made an appearance again on the synth driven funk of ‘High Enough To Carry You Over’ for CHVRCHES second album ‘Every Open Eye’. While nowhere near as accomplished as main vocalist Lauren Mayberry, by taking on a more Americanised drawl in the vein of MISTER MISTER, this was a big improvement on the stoner vibe of his previos two singing attempts.

Available on the album ‘Every Open Eye’ via Virgin Records

http://chvrch.es/

APOPTYGMA BERZERK Nearest (2019)

The project of Norwegian Stephan Groth, APOPTYGMA BERZERK went Deutsch on the ‘Nein Danke!’ EP while displaying a prominent “NEWWAVESYNTHPOP” legend on its artwork. ‘Nearest’ saw Stephan’s live bandmate and brother Jonas step into the limelight on a chilled electronic ballad ‘Nearest’ that possessed the same ethereal qualities as the best known APOP track ‘Kathy’s Song’. Jonas Groth has since stepped fully up to the front in his own synthpop duo PISTON DAMP.

Available on the EP ‘Nein Danke!’ via Pitch Black Drive

http://www.theapboffice.com/

Text by Chi Ming Lai
Photo by Catrine Christensen
31st December 2022

MUSIC FOR NEW ROMANTICS

5 November 2022 /

The phenomenon of the New Romantics can be said to have begun in Autumn 1978 with the foundation of a “Bowie Night” by Steve Strange and Rusty Egan at Billy’s nightclub in London’s Soho.

The youth movement that emerged aimed to find something new and colourful to escape the oncoming drabness in The Winter Of Discontent. Like Edwardian dandies meeting the Weimar Cabaret with extras from ‘Barbarella’ in between, they did a strange swaying arms dance, so as to not mess up their theatrical bouffanted hair. But after a disagreement with the owners of Billy’s, the pair moved their venture to The Blitz Club in Holborn.

Despite names such as Futurists, The Blitz Kids and The Movement With No Name, it was the term “New Romantics” coined by producer Richard James Burgess that became the widely used press description for this flamboyant group of outsiders. It was to eventually stick on anything from synthpop, art rock and peacock punk to Latin grooves, jazz funk and cod reggae provided the artist wore make-up, zoot suits, frilly blouses, smocks, headbands or kilts. Parallel club scenes developed at The Rum Runner in Birmingham, Crocs in Rayleigh near Southend and The Warehouse in Leeds from which DURAN DURAN, DEPECHE MODE and SOFT CELL respectively emerged.

To celebrate this era in popular culture, Cherry Red Records release an eclectic boxed set entitled ‘Music For New Romantics’. But while it contains some fantastic music, the tracklisting is a confused affair, having been originally conceived around comings and goings of The Blitz Club. It was here that Steve Strange acted as doorman and fashion policeman, while Rusty Egan was its resident DJ providing the soundtrack for a scene which became the catalyst for several bands including SPANDAU BALLET, CULTURE CLUB and VISAGE as well as assorted fashion designers, visual artists and writers.

Everything was centred around fashion-obsessed and some would say self-obsessed individuals; while the story about turning away Mick Jagger is well documented, one of the ironies of Steve Strange’s gatekeeping antics was that he refused entry to Chris Payne, then a member of Gary Numan’s band in 1979; Strange was to have his biggest hit with a song that Payne co-wrote entitled ‘Fade To Grey’ while another refused entry that evening was Ced Sharpley who played the drums on it!

Contrary to legend, the playlists of the various New Romantic establishments did not comprise exclusively of electronic music as those types of tracks were comparatively scarce at the time. So international synthworks from the likes of KRAFTWERK, YELLOW MAGIC ORCHESTRA, SPARKS, SPACE and TELEX sat alongside soundtracks, punk, disco and relatable glam rock tunes by David Bowie, Brian Eno and Bryan Ferry.

Rusty Egan declined to be involved in the collection after initial discussions led to conceptual differences. In the absence of The Blitz Club’s resident DJ who is now planning his own curated collection, one of the regulars Chris Sullivan, who himself ran a similar but less electronically focussed night at Le Kilt in Soho, steps in to provide commentary while the set was put together by the team behind Cherry Red’s ‘Musik Music Musique’ synthpop series and ‘Electrical Language’ boxed set.

‘Music For New Romantics’ comes with three loosely themed discs with CD1 focussing on glam, art rock and early electronic disco while CD2 covers Synth Britannia and new wave. CD3 though is a hotch-potch of soul, funk and electro with SISTER SLEDGE and LIPPS INC being rather incongruous inclusions; with their hit songs being readily available on any ‘Night Fever’ type compilation, there were many more suitable alternatives that could have been considered.

But it is CD2 that most will revel in and the tracklist has no fault as a listening experience. Standards such as the eponymous song by VISAGE, SIMPLE MINDS ‘Changeling’, OMD’s ‘Electricity’, ‘Moskow Diskow’ from TELEX, THE NORMAL’s ‘Warm Leatherette’, JAPAN’s Giorgio Moroder produced ‘Life In Tokyo’, ‘Bostich’ by YELLO, ‘Being Boiled’ from THE HUMAN LEAGUE and THROBBING GRISTLE’s ‘Hot On The Heels Of Love’ are present and correct. But it was SPANDAU BALLET’s ‘To Cut A Long Story Short’ and LANDSCAPE’s ‘Einstein A-Go-Go’ that were to confirm that the New Romantics were able to hit the charts in their own right after Steve Strange’s cameo in Bowie’s ‘Ashes To Ashes’ video.

CD1 features scene heroes such as Iggy Pop, Lou Reed and Mick Ronson, but heroines come in the avant cabaret glamour of Nina Hagen with ‘TV-Glotzer’ and Grace Jones’ reinterpretation of Édith Piaf’s ‘La Vie En Rose’. The most welcome track on this disc though is RAH BAND’s ‘The Crunch’ which all but invented the sexy electro-Schaffel of GOLDFRAPP, while one obscure jewel is ‘The Ultimate Warlord’ by THE WARLORD. And when today’s synthwave fanboys go on and on ad nauseam about how influential the ‘Drive’ soundtrack is, then just throw ‘Chase’ by Giorgio Moroder from ‘Midnight Express’ at them!

Despite being a mess of styles, the highlights of CD3 are Marianne Faithfull’s terrorism commentary ‘Broken English’ and Gina X with the Quentin Crisp tribute ‘No GDM’ which both fit into the avant cabaret category. Although ‘M Factor’, the B-side of M’s ‘Pop Muzik’ was regularly played at The Blitz Club, ‘Everything’s Gone Green’ by NEW ORDER sticks out like a sore thumb… Peter Hook would likely scoff at being considered a New Romantic!

The move towards funk in the New Pop of late 1981 is reflected in ABC with ‘Tears Are Not Enough’ (full marks for using the CORRECT Steve Brown produced single version), HEAVEN 17’s ‘We Don’t Need This Fascist Groove Thang’ (in a rare radio version with the lyric “fascist god” changed to “cowboy god”) and TOM TOM CLUB’s ‘Genius Of Love’. But those who consider New Romantics to be discerning studious types into synth and new wave will find the likes of Coati Mundi and Don Armando extremely alienating; after all, it was THE HUMAN LEAGUE’s Phil Oakey who said to Smash Hits around this time “I hate all trends like all this Ze Stuff”! 

When the New Romantic magazine ‘New Sounds, New Styles’ launched as a monthly publication in Summer 1981 after a promising launch edition, its content was confused with one angry punter later exclaiming via letter: “You’re meant to be a Futurist mag so leave all this Latin and jazz funk sh*t out of it!” – with the embarrassing novelty party act MODERN ROMANCE also being lumped in with the New Romantics, it was obvious the rot had now set in. Tellingly within a year, ‘New Sounds, New Styles’ folded…

From 1982, ‘Club Country’ by ASSOCIATES which notably highlighted the observations of  Billy MacKenzie on what he saw as the posey vapid nature of The Blitz Club is a fitting inclusion. Meanwhile as the ‘Music For New Romantics’ essay writer, Chris Sullivan gets to include his own style over substance combo BLUE RONDO À LA TURK with ‘Klactoveesedstein’, a single that came in with a blank at No50 that same year!

Of course, Sullivan went on to establish Le Beat Route and The Wag Club because he loved salsa and was less than enthused about synthpop, highlighting that despite the New Romantics seeming to be a united voice of expression, like any movement, it had its factions. Not featuring in the set, it was another scene regular Marilyn who said on the recent ‘Blitzed’ Sky Arts documentary that “I hated the music, all that electronic crap” while Steve Strange imposed a ban on Gary Numan being played at The Blitz Club, thus prompting Mr Webb’s lines “These New Romantics are oh so boring” in the 1981’s ‘Moral’ and “I like romantics but I don’t like Steven” in 1982’s ‘War Songs’.

A range of key New Romantic godfathers are missing from Bowie to Eno although MOTT THE HOOPLE’s hit take on ‘All The Young Dudes’ makes up for the former while ROXY MUSIC’s ‘Do The Stand’ effectively covers off the latter. KRAFTWERK, YELLOW MAGIC ORCHESTRA and SPARKS are also absent and of the lesser known cult figures, Wolfgang Riechmann undoubtedly deserved inclusion, while New Romantic staples such as ‘Hiroshima Mon Amour’, ‘RERB’ and ‘Magic Fly’ are more preferable to the likes of ‘Funky Town’ or ‘Ai No Corrida’.

Although only a single disc, 2006’s ‘Only After Dark’ compiled by Nick Rhodes and John Taylor of DURAN DURAN based around the music played at The Rum Runner, managed to feature Bowie and Eno as well as YELLOW MAGIC ORCHESTRA and KRAFTWERK so did more with less. While ‘Music For New Romantics’ is flawed and will cause some head scratching, this set is a reminder of those more innocent aspirational times and a scene that DID actually play its part in changing the world.

The Blitz Club’s tenure was short and after vacating it, Steve Strange and Rusty Egan started Club For Heroes and then in 1982 came The Camden Palace; it was the UK’s first modern superclub; music and clubbing were never the same again, and it was not for the better. However, the New Romantics had made their mark.

An elitist movement that was exclusive at its core despite the protestations of some, one amusing modern day legacy of the New Romantics and the Blitz generation in particular is how some try to ride on the scene’s trenchcoat tails, despite the fact that even if they had been old enough to visit licenced premises back in 1980, they almost certainly would have not been allowed in, thanks to the door policy of the man born Stephen John Harrington.

Taylor Swift did a song in 2014 called ‘New Romantics’ and when you google “New Romantics” these days, it’s what often springs up at the top of the searches… but that’s another story 😉

‘Music For New Romantics’ is released by Cherry Red as a 3CD Clamshell Box Set on 25th November 2022

https://www.cherryred.co.uk/product/music-for-new-romantics-3cd-clamshell-box-set/

Text by Chi Ming Lai
5th November 2022

2021 END OF YEAR REVIEW

17 December 2021 /


As the world steadily emerged from a painful pandemic that put many lives on hold, nostalgia appeared to be the commodity most in demand as the music industry took steps to recover.

No matter which era, anything musically from the past was more desirable that anything that reminded the public of the past 20 or so months. The first escape destination in the summer for many restricted to staying on their own shores were the established retro festivals.

Meanwhile television provided an array of documentaries ranging from chart rundowns of past decades and informative classic song analysis on Channel 5 to Dylan Jones’ look at ‘Music’s Greatest Decade’ on BBC2 and Sky Arts’ ‘Blitzed’ with all the usual suspects such as Boy George, Philip Sallon, Marilyn, Gary Kemp and Rusty Egan.

SPARKS had their own comprehensive if slightly overlong film ‘The SPARKS Brothers’ directed by Edgar Wright, but the Maels’ musical ‘Annette’ starring Adam Driver was a step too far. Meanwhile the acclaimed ‘Sisters With Transistors’ presented the largely untold story of electronic music’s female pioneers.

It was big business for 40th anniversary live celebrations from the likes of HEAVEN 17, THE HUMAN LEAGUE, OMD and SOFT CELL, while other veterans such as NEW ORDER and ERASURE returned to the live circuit with the biggest indoor headlining shows of their career.

Meanwhile for 2022, Midge Ure announced an extensive ‘Voices & Visions’ tour to present material from the 1981-82 phase of ULTRAVOX.

Also next year and all being well, GOLDFRAPP will finally get their belated 20th Anniversary tour for their marvellous debut ‘Felt Mountain’ underway while there are rescheduled ‘Greatest Hits’ live presentations for PET SHOP BOYS and SIMPLE MINDS.

Always money for old rope, but also giving audiences who missed them at their pioneering height an opportunity to catch up, ‘best of’ collections were issued by YELLO and TELEX while JAPAN had their 1979 breakthrough album ‘Quiet Life’ given the lavish boxed set treatment. Meanwhile, while many labels were still doing their best to kill off CD, there was the puzzling wide scale return of the compact cassette, a poor quality carrier even at the zenith of its popularity.

“Reissue! Repackage! Repackage! Re-evaluate the songs! Double-pack with a photograph, extra track and a tacky badge!” a disgraced Northern English philosopher once bemoaned.

The boosted market for deluxe boxed sets and the repackaging of classic albums in coloured vinyl meant that the major corporations such as Universal, Sony and Warners hogged the pressing plants, leaving independent artists with lead times of nearly a year for delivery if they were lucky.

But there was new music in 2021. Having achieved the milestone of four decades as a recording act, DURAN DURAN worked with Giorgio Moroder on the appropriately titled ‘Future Past’ while not far behind, BLANCMANGE took a ‘Commercial Break’ and FIAT LUX explored ‘Twisted Culture’. David Cicero made his belated return to music with a mature second album that was about ‘Today’ as Steven Jones & Logan Sky focussed on the monochromatic mood of ‘European Lovers’. Continuing the European theme but towards the former Eastern Bloc, Mark Reeder gave a reminder that he was once declared ‘Subversiv-Dekadent’ and fellow Mancunians UNE became inspired by the ‘Spomenik’ monoliths commissioned by Marshal Tito in the former Yugoslavia.

For those who preferred to immerse themselves in the darker present, Gary Numan presented ‘Intruder’, a poignant concept album produced by Ade Fenton about Mother Earth creating a virus to teach mankind a lesson! Meanwhile ITALOCONNECTION, the project of Italo veterans Fred Ventura and Paolo Gozzetti teamed up with French superstar Etienne Daho to tell the story of ‘Virus X’! The video of the year came from UNIFY SEPARATE whose motivation message to ‘Embrace The Fear’ despite the uncertainty reflected the thoughts of many.

Despite the general appetite for nostalgia, there was some excellent new music released from less established artists with the album of the year coming from Jorja Chalmers and her ‘Midnight Train’ released on Italians Do It Better. The critical acclaim for the UK based Aussie’s second long playing solo offering made up for the disbandment of the label’s biggest act CHROMATICS, as it went into its most prolific release schedule in its history with albums by GLÜME, JOON, DLINA VOLNY and LOVE OBJECT as well as its own self-titled compilation of in-house Madonna covers.

As Kat Von D teamed up with Dan Haigh of GUNSHIP for her debut solo record ‘Love Made Me Do It’, acts like DANZ CM, CLASS ACTRESS, GLITBITER, PRIMO THE ALIEN, PARALLELS, KANGA, R.MISSING, I AM SNOW ANGEL, XENO & OAKLANDER, HELIX and DAWN TO DAWN showed that North America was still the creative hub as far as electronically derived pop songs went.

Attracting a lot of attention in 2021 were NATION OF LANGUAGE, who with their catchy blend of angst, melody and motorik beats welcomed synths as family in their evolving sound while also providing the song of the year in ‘This Fractured Mind’, reflecting the anxieties of these strange times. At the other end of the spectrum, DIAMOND FIELD went full pop with an optimistic multi-vocalist collection that captured the spirit of early MTV while BUNNY X looked back on their high school days with ‘Young & In Love’.

ACTORS delivered their most synthy album yet while as LEATHERS, they keyboardist Shannon Hamment went the full hog for her debut solo effort ‘Reckless’. FRONT LINE ASSEMBLY released a new album and some of that ‘Mechanical Soul’ was brought by their Rhys Fulber into his productions this year for AESTHETIC PERFECTION.

In Europe, long playing debuts came from PISTON DAMP and WE ARE REPLICA while NORTHERN LITE released their first album completely in German and FRAGRANCE. presented their second album ‘Salt Air’. There was also the welcome return of SIN COS TAN, KID KASIO, GUSGUS, MARVA VON THEO, TINY MAGNETIC PETS and MAN WITHOUT COUNTRY.

Featuring second generation members of NEW ORDER and SECTION 25, SEA FEVER released their eclectic debut ‘Folding Lines’ as fellow Mancunian LONELADY added sequencers and drum machines to her post-punk funk template. But Glasgow’s CHVRCHES disappointed with their fourth long player ‘Screen Violence’ by opting to sound like every other tired hipster band infesting the land.

The most promising artist to breakthrough in 2021 was Hattie Cooke whose application of traditional songwriting nous to self-production and arrangement techniques using comparatively basic tools such as GarageBand found a wider audience via her third album ‘Bliss Land’. In all, it was a strong year for female synth-friendly artists with impressive albums from Karin My, Laura Dre, Alina Valentina, Robin Hatch and Catherine Moan while comparative veterans like Fifi Rong, Alice Hubble, Brigitte Handley and Alison Lewis as ZANIAS maintained their cult popularity.

In 2021, sometimes words were very unnecessary and there were fine instrumental synth albums from BETAMAXX, WAVESHAPER, КЛЕТ and Richard Barbieri, with a Mercury nomination received by Hannah Peel for ‘Fir Wave’. But for those who preferred Italo Noir, popwave, post-punk techno and progressive pop, Tobias Bernstrup, Michael Oakley, Eric Random and Steven Wilson delivered the goods respectively.

With ‘The Never Ending’ being billed as the final FM ATTACK album and PERTURBATOR incorrectly paraphrased by Metal Hammer in a controversial “synthwave is dead” declaration, the community got itself in a pickle by simultaneously attacking THE WEEKND for “stealing from synthwave”, yet wanting to ride on the coat tails of Abel Tesfaye, misguidedly sensing an opportunity to snare new fans for their own music projects.

With THE WEEKND’s most recent single ‘Take My Breath’, there was the outcry over the use of a four note arpeggio allegedly sampled from MAKEUP & VANITY SET’s ‘The Last City’. But as one online observer put it, “Wow, an arpeggiated minor chord. Hate to break it to you but you might want to check out what Giorgio Moroder was doing 50 years ago. We’re ALL just rippin’ him off if that’s how you think creativity works”. Another added “If a four note minor key arpeggiated chord can go to court on the basis of copyright law, we are in for a hell of a few years my synthy friends”. It outlined once again that there are some who are still under the impression that music using synths was invented by Ryan Gosling in 2011 for ‘Drive’ soundtrack ??

There were also belated complaints that 2019’s A-HA inspired ‘Blinding Lights’ had a simple melody and needed five writers to realise it… but then, so did UTRAVOX’s ‘Slow Motion’ and DURAN DURAN’s ‘Rio’! Collaboration, whether in bands, with producers or even outsiders has always been a key aspect of the compositional process. If it is THAT simple, do it yourself! As Andy McCluskey of OMD said on ‘Synth Britannia’ in 2009 about the pioneering era when Ryan Gosling was still in nappies: “The number of people who thought that the equipment wrote the song for you: ‘well anybody can do it with the equipment you’ve got!’ “F*** OFF!!”

Over the last two years, THE WEEKND has become the biggest mainstream pop act on the planet, thanks to spectacles such as the impressive gothic theatre of the Super Bowl LV half time showcase while in a special performance on the BRITS, there was a charming presentation of the ERASURE-ish ‘Save Your Tears’ where he played air synth in a moment relatable to many. But everything is ultimately down to catchy songs, regardless of synth usage.

So ELECTRICITYCLUB.CO.UK would like to present a hypothetical case to consider… if someone uses the arpeggio function with a sparkling patch from a Juno 6 synth in a recording, does Cyndi Lauper sue for infringing the copyright of ‘All Through The Night’ or the original songwriter Jules Shear or even the Roland Corporation themselves as they created it? More than one producer has suggested that THE WEEKND’s soundbite came from a hardware preset or more than likely, a software sample pack, of which there are now many.

However, sample culture had hit another new low when Tracklib marketed a package as “A real game-changer for sample based music. Now everyone can afford to clear samples” with rapper and producer Erick Sermon declaring “Yo, this is incredible. They’re trying to put creativity back into music again. By having samples you can actually pay for and afford”.

Err creativity? How about writing your own songs and playing or even programming YOUR OWN instrumentation??!? One sampling enthusiast even declared “I might go as far as to say you don’t really like dance music if you’ve got a problem with adding a beat to a huge (even instantly recognizable) sample”… well guess what? ELECTRICITYCLUB.CO.UK LOATHES IT!!! ?

In 2021, music promotion became a bit strange with publicists at all levels keen more than ever to have their clients’ press releases just cut ‘n’ pasted onto online platforms, but very reluctant to allow albums to be reviewed in advance in the event of a potential negative prognosis.

While cut ‘n’ paste journalism has been a disease that has always afflicted online media, in a sad sign of the times, one long established international website moved to a “pay to get your press release featured” business model.

The emergence of reaction vloggers was another bizarre development while the “Mention your favourite artist and see if they respond to you” posts on social media only added more wood to the dumbing down bonfire already existing within audience engagement.

It was as if the wider public was no longer interested in more in-depth analysis while many artists turned their publicity into a reliance on others doing “big ups” via Twitter and Facebook. But then, if artists are being successfully crowdfunded with subscriptions via Patreon, Kickstarter, Bandcamp and the like, do they need a media intermediary any longer as they are dealing direct with their fanbases?

However, it wasn’t all bad in the media with ‘Electronically Yours With Martyn Ware’ providing insightful artist interviews and the largely entertaining ‘Beyond Synth’ podcast celebrating its 300th show. Due to their own music commitments, Steven Wilson and Tim Bowness were less prolific with their discussion show ‘The Album Years’ but it was still refreshing for commentators to be able to say that a record was sh*t when it actually was, rather than conform to the modern day adage that all music is good but not always to the listener’s taste!  And while various programmes came and went, other such as ‘Operating//Generating’, ‘KZL Live’ and ‘Absynth’ came to prominence.

Post-pandemic, interesting if uncertain times are ahead within the music industry. But as live performance returns, while the mainstream is likely to hit the crowd walking, will there be enough cost effective venues to host independent artists? Things have been tough but for some, but things might be about to get even tougher.

However, music was what got many through the last 18 months and as times are still uncertain, music in its live variant will help to get everyone through the next year and a half and beyond.

ELECTRICITYCLUB.CO.UK’s year in music is gathered in its 2021 Playlist – Missing U at
https://open.spotify.com/playlist/4rlJgJhiGkOw8q2JcunJfw

Text by Chi Ming Lai
17th December 2021

SEA FEVER Folding Lines

18 October 2021 /

Manchester, so much to answer for…

SEA FEVER are a new but seasoned quintet whose musical family trees link up through their various associations with some of the city’s best known bands such as NEW ORDER, THE SMITHS, SECTION 25 and THE FALL.

Comprising of Iwan Gronow, Beth Cassidy, Tom Chapman, Phil Cunningham and Elliot Barlow, their debut album ‘Folding Lines’ is the sound of a band instinctively working together, exploring the music that has inspired each band member to merge into a new whole.

Aiming to explore new sounds and unusual instrumentations, examples of this approach come with the sombre indie rock of ‘Crossed Wires’ where Phil Cunningham’s guitar sounds are played through one of Tom Chapman’s synths and ‘Built To Last’ which uses a string quartet to complement the virtual orchestra sound.

Similarly filmic, ‘The Finder’ takes inspiration from the soundtracks of Bernard Hermann, Georges Delerue, Ennio Morricone and Ryuichi Sakamoto, while a hammered dulcimer makes an appearance to add tension and mood to the dual vocalled ‘Folding Lines’ title track.

‘Under Duress’ also exudes a particularly expansive sound with electronics, strings and anthemic vocal lines like Björk’s ‘Homogenic’ meeting a modern Mancunian Spaghetti Western soundtrack, while the buzzing electronically assisted indie rock of ‘Afterthought’ is equally spirited.

Two of the album’s best songs are tightly electronically driven; ‘De Facto’ is a delightful indie-disco feast with an adrenalin rush guaranteeing dancefloor satisfaction. Meanwhile cut from a similar cloth, the slightly less frantic ‘Le Coup’ sees Beth Cassidy take the lead vocal over a blend of many Mancunian club influences.

Closing with a choir on ‘Programme Your Life’ recorded at the Royal Northern School of Music in Manchester alongside woodwinds and strings, ‘Folding Lines’ is an eclectic collection of music showcasing no particular sound or feel other than being SEA FEVER.

If you a fan of any of the bands that SEA FEVER are linked with, you will be sure to love at least 3-4 tracks. Although all the members have other bands to return to, album number two has already been written, so more is to come…

‘Folding Lines’ is released by Kartel Records on 22nd October 2021 in vinyl LP, CD and digital formats – pre-order from https://seafever.lnk.to/foldinglines

SEA FEVER play Manchester Night & Day Cafe on 22nd October and London Rough Trade East on 29th October 2021

https://seafeverband.com/

https://www.facebook.com/seafeverband

https://twitter.com/SeaFeverBand

https://www.instagram.com/SeaFeverBand/

Text by Chi Ming Lai
Photo by Anthony Harrison
17th October 2021

Vintage Synth Trumps with MARK REEDER

1 September 2021 /

Photo by Crystal Reeder

His portfolio has included NEW ORDER, DEPECHE MODE, PET SHOP BOYS, JOHN FOXX, BLANK & JONES, WESTBAM, MARSHEAUX, THE KVB, NOBLESSE OBLIGE, KOISHII & HUSH, QUEEN OF HEARTS and many more.

Mark Reeder is the jovial Mancunian who ventured over to Germany in 1978 in search of electronic music records and never returned home, eventually settling in West Berlin.

Immersing himself in the local art and punk scene, he arranged JOY DIVISION’s now legendary gig at Kant-Kino, managed MALARIA! and was Factory Records representative in Der Bundesrepublik.

On Mayday 1982, he paid a visit to the DDR and while taking photos of the grand parade in East Berlin, he was arrested by the STASI and taken in for interrogation, under suspicion of working for M16. Unable to draw any conclusions, other than he was trying to corrupt the youth of East Germany with pop music, the East German Secret Police marked his file ‘Subversiv-Dekadent’.

The experience inspired Reeder’s most recent double album named after his STASI classification. Comprising of productions and remixes made by himself and his engineer Micha Adam, it celebrated his cross-border artistic ethos and also included collaborations with the likes of Fifi Rong and Alanas Chosnau, as well as solo work on which he lent his own spoken voice.

The two high profile centrepieces of ‘Subversiv-Dekadent’ focus on Reeder’s reworkings of NEW ORDER’s first new single since 2015 ‘Be A Rebel’ and YELLO’s evergreen ‘Vicious Games’. But room is also given to newer acts such as the Dutch-based American BIRMINGHAM ELECTRIC, Manchester’s MFU, DEER Mx from Mexico and hailing from the Chinese city of Chengdu, STOLEN who opened for NEW ORDER on their 2019 European tour.

Another NEW ORDER support act Zachery Allan Starkey makes appearance via a remix of ‘Coked Up Biker Anthem’ which saw Reeder realise some of his mad axeman fantasies having grown up as a fan of Jimi Hendrix. But accepting ELECTRICITYCLUB.CO.UK’s invitation to play a round of Vintage Synth Trumps, Mark Reeder kindly chatted about his love of classic synthesizers and how they have been used throughout his career.

Ok, our first card is the Roland SH7…

I’ve seen one but never had one, I had an SH9 which I used at the end of DIE UNBEKANNTEN and the start of SHARK VEGAS. In fact, the bassline of ‘You Hurt Me’ which we released on Factory in 1984 was made with an SH9. They were very similar kinds of synthesizers but the SH7 had a few extra features. I actually played the bassline of ‘You Hurt Me’ by hand all the way through for six minutes non-stop, it wasn’t a sequencer! If you made a mistake, there was no way of going back and you had to start again! *laughs*

What was the drum machine you were using at the time?

We had an 808 and a 606…

And the next card is an Oberheim 2 Voice…

I never knew anyone who could afford Oberheim stuff until it became more affordable in the late 80s, no-one I knew had the 2 Voice. But the OBXs was really good, you could do some great things with them but the earlier ones weren’t readily available, so you didn’t really see anything you could buy… no-one had any money in Berlin in the 80s! A Prophet 10 would be like 10 years wages! *laughs*

So, when you were conceiving ‘Subversiv-Dekadent’ which was a reference to that time in 80s Berlin, and your cover photo of the May Day parade and your STASI file, did you select a palette of specific vintage synth sounds to work with?

I’ve always worked like this, when I started to get back into actually making music again, as more of a remixer and producer than before, I had this idea that I only wanted to have a small selection of things that I could draw from to maintain a particular sound. I made my own drum kits, three different kinds and I would interchange within each one.

So, I might have three different claps but I’d put two together and manipulate them to create another type of clap sound. So, the sounds are all drawn from the same three basic kits and say with a snare, I might add another instrument into that snare mix, but it’s all the same block if you like.

It’s the same in a way with synthesizers as well, I don’t have loads, and I keep it reasonably contained. If you have too many, you end up spending too time trawling through thousands and thousands of sounds, but if you have a limited amount of possibilities, then you have to be creative within those few things. I’ll take pads off one synthesizer and put the dirt in from an MS20 underneath, and it will change the sound of the pad. And if you put that through a chorus, it will automatically give that a different sound.

I’ve not got loads of synthesizers in the studio, but we’ve got quite a few. We’ve got quite a few plug-ins too, initially I was a bit dubious about them, but meanwhile a few of them are really quite good and very useful…

Do you have a favourite of the plug-ins?

Well, we’ve got Omnisphere which we use regularly, as I find it’s got a few sounds which I’ll always use and they’re easy to manipulate, but they’re always the same basics. I think I always choose the same couple of sounds *laughs*

We’ve got an ARP plug-in and that is quite good and an EMS one because I could never afford a real one. I’ve got a plug-in version of the Roland SH101 but having the original thing is different, it has a totally different feeling to it. It depends what you want to do with it. The plug-in doesn’t come near, but it has its own sounds that are useful. I have a Juno 106 and my studio partner Micha Adam has a plug-in 106 and a boutique version, although it’s similar in certain sounds, neither sound like a real 106. But each has features that the real 106 doesn’t have, like the arpeggiator or the delay, so you kind of mix them all together, that’s how I work.

Photo by Crystal Reeder

What was your approach to reworking ‘Vicious Games’ by YELLO from 1985 for ‘Subversiv-Dekadent’?

The original track was like “I’ve got a sound sampler and I’m gonna show you how to use it” so it’s like all these ideas together and a vocal connecting everything.

When YELLO sent me the parts, I realised there were more vocals recorded than used on the track and I thought it was a shame that this track of idea wasn’t actually a song. So, I reworked Rush Winter’s wonderful vocals into a song, to give it a definitive verse-chorus-verse-chorus structure, like a 21st Century version of an 80s song.

I used the Oberheim OBX and Juno to make the pad at the beginning and made it more song structured. I looped the guitar part so that it became a groove. People have come up to me and said they love the Donna Summer ‘I Feel Love’ bit that I added, but it’s in the original track, it’s just that you can’t hear it because it’s mixed down so much within the track. You don’t really get to experience that part, so I thought it would be nice to feature that as the break, so I cannibalised the original.

What did Boris and Dieter think of it?

They love it, Boris said I was very daring for changing their song so much and not make it sound like their original, but it does! You can hear I’ve used as many of the original parts as possible but I’ve rearranged it completely.

Photo by Chi Ming Lai

So, we go from you remixing ‘Vicious Games’, an old YELLO track to remixing a brand new NEW ORDER song ‘Be A Rebel’…

As with all my remixes, I like people to be able to recognise the song, I don’t want to take some unused backing track and just drop in some vocals, to me that’s not a remix. I take all the parts I require from the original song and rework them so that they will fit my groove. The idea was make the Elektron bassline more pulsating, give a driving feeling to it.

The first mix I made was the Cheeky Devil one, which appears on ‘Subversiv-Dekadent’ that I made more for the elderly semester of NEW ORDER fans that don’t like the techno side. I know people who will get a remixes CD or vinyl and they’ve got techno versions of the track that they love, but they can’t get their heads around it. I thought I’d do one which had a “ploddy” kind of feel that’s not so fast even though it’s exactly the same tempo, one that chugged along and put more emphasis on the vocals.

For the Dirty Devil remix for the NEW ORDER release on Mute, I wanted to make it so that Bernard could listen to it in his car while he was on the motorway, more driving and I must confess I prefer this remix to the one I did for ‘Subversiv-Dekadent’ but that chuggy version had to work within the framework of my album. I just changed the volume of a few things within the mix like the loudness of the hi-hats in the Elektron driving version.

You actually added some guitars into your remixes of ‘Be A Rebel’ which aren’t on the NEW ORDER original?

There was initially no bass guitar on the original version. There was a guitar, but it was all quite jangly… that style kind of slowed my track down, so I played what I needed… in fact my guitar mirrors Bernard’s vocal quite a lot. I thought I’d play a melody on the guitar like a sequence… some people thought it sounded like the ghost of Hooky’s bass, but it’s my Les Paul playing that and some power chords to embellish the end.

So what’s your guitar playing like compared with your keyboard prowess?

That’s equally as cr*p! *laughs*

Time for another card and it’s a Prophet 10…

I don’t know anybody who owned a Prophet 10. Susanne Kuhnke from MALARIA! owned a Prophet 5 but I only ever saw a Prophet 10 in a music shop and you weren’t allowed to touch it!

By the time when you supported NEW ORDER as SHARK VEGAS in 1984, they would have swapped their Prophet 5s for Octave Plateau Voyetras?

Yes, they’d just got it. A few years before, Bernard had got an ARP so he gave me his Transcendent 2000…

Did you ever do anything useful with the Transcendent 2000?

It just makes a noise! It doesn’t make any kind of like sounds that your granny is going to like! It goes “KKKKHHRRRKK” or “TSCHHHHHH”, it’s a noise synthesizer, white noise, pink noise! A Wasp you can kind of play but the Transcendent didn’t make any keyboard notes. All the crazy “TSCH-TSCH-TSCH-TSCH” noises you hear on the JOY DIVISION records were made by the Transcendent *laughs*

Photo by Kai von Kröcher

On your albums, you like to do new collaborations and on ‘Subversiv-Dekadent’, you worked with Fifi Rong who has a connection with YELLO…

I met Fifi Rong at a YELLO gig in Berlin. She told me she was playing a gig in a small bar the next evening and invited me. She was absolutely mind-blowingly good and she explained what each song was about, it was very endearing. I thought she was so talented, she’s very hands on and so determined.

I thought it would be nice to work with her to give her another platform other than YELLO. You could hear that she has an interesting voice with that high Asian tone. So, I remixed ‘Future Never Comes’, that was such a nice track and as I was doing that, I had another track that I asked her to do a vocal on. I didn’t hear anything from her for about 3 weeks and then she sent me this track that became ‘Figure Of 8’. I decided to start and close ‘Subversiv-Dekadent’ with Fifi because I felt she deserved to have those important positions within the framework of the record. She’s been working on her own new album for 2 years and it’s finally getting there, it is an interesting record, a really nice album, I think she’s done really well and got the right ambience.

And the next card is a Yamaha CS30…

I must confess I always found Yamaha gear to be interesting but very cold. I have a TX module which is like a DX7 and has all the sounds, which I’ve had for decades… it’s a limited thing. I don’t use it much, only for specific things like if I want a hard tone filtered in with something else to give it a colder edge. I never bought an actual DX7 because it was too complicated to programme. It had bits like marimba sounds that sounded good, but everyone had one, as it was the first big affordable synthesizer back in the 80s. Everyone dumped their analogue synths for a DX7 and I’m thinking WHY!?!

The DX7 sounded super modern and dead professional at the time, but I didn’t get my module until very late when nu-beat and acid house started, it made a slappy kind of hard bass sound that fitted.

Photo by Martyn Goodacre

Did you get into Akai samplers at all?

I had an Akai S900, I was talking to Micha Adam about them just the other day and how they were the best thing on the market at the time with the longest sampling time. I had a Roland sampler which had an expanded sampling time of 2 seconds! And then there was the Ensoniq Mirage which had its own 30 second samples but when you tried to sample something yourself, you only had a small amount of time. And then came the Akai S800 and that had 20 seconds!! *laughs*

The Akai S900 cost a fortune and was so complicated, there was a lot of fiddling around, twiddling knobs and pressing things! It had a manual the size of the Holy Bible and they knew no-one was going to read this thing, so it came with a VHS video cassette so that you could watch how to programme the thing! It was a really good tool to use once you got used to it and sounded good compared to the others. But then the Akai S1000 came and that had 90 seconds of sampling time which was amazing! I did a couple of remixes in the 90s with the Akai, one for Nina Hagen of ‘Du Hast Den Farbfilm Vergessen’… she hated it! It never came out! *laughs*

How did you put together your 13 minute epic ‘You Can Touch Me’?

That was an idea that’s really three tracks in one and it kind of went on and I thought I’d better stop it at some point! *laughs*

It was originally born from an idea for an album, that had a great underlying groove and I took a snippet from an Eiven Major track to use as a loop in the techno part of the track. I like taking a track that will morph from one thing and end up as another. ‘With You Can Touch Me’, it became that. It starts off very sexual, dark and mysterious… it’s like when you meet someone for the first time, you go through the actions of foreplay and it gets to the climax, the song is a bit like that, very Wet & Hard! It goes into the lyric where “you can’t touch me” and at the end, it goes into this mad techno thing. I’m not a singer, but for that track, it fitted and it sounds alright. I couldn’t find anyone else who wanted to do it to be honest.

I made it just so I could play it in clubs, mostly the DJ who plays after me is usually a techno DJ so I wanted to give them something at the end of my set that they can mix into. It’s my closing track and it’s so long, I can pack all my stuff away while it’s playing and the DJ after me can either let it play out or mix into it. *laughs*

The final card, it’s an EDP Wasp!

I never actually owned one, I borrowed a Wasp, Mijk van Dijk had a Wasp. It’s a bit like the Transcendent, but it has more tone and easier to use. I never recorded anything with it, I just messed around with it, it was quite good. You could mix it with other sounds to add some grit.

You’re working on the debut album of BIRMINGHAM ELECTRIC who are on ‘Subversiv-Dekadent’ with your remix of ‘How Do We End Up Here?’?

We’ve been working on quite a lot of songs together and they’ve become an album. It’s a synthpop album in its own way, Andy Evans has got a very distinctive voice that colours the music and gives it his own edge. It’s not dissimilar to how I work with Alanas Chosnau, but I try to keep Alanas’ song ideas directed towards his kind of sound, if you know what I mean. I’m also working on a second album with him. I keep them separate, but as I use the same kind of sounds, there is always this “me” thread running through the music.

When you’re writing songs with people, you have gaps while they’re figuring out their part, especially when having to do it online, so you can use the time to work with somebody else. So for example, I’m doing something with Andy and when there’s a break, I’ll do something with Alanas in between. I’m quite happy the way the BIRMINGHAM ELECTRIC album has turned out, it’s been quite a nice project.

Photo by Crystal Reeder

What’s happening with STOLEN at the moment?

STOLEN have gone from being “a band to watch” to playing headline gigs in China now. Since the pandemic, their career has had a meteoric rise, as no Western artists are allowed to play in China at the moment, so promoters have been forced to look at their home-grown talent and have realised they actually have some really good and interesting bands there.

With STOLEN having opened for NEW ORDER on their 2019 European tour, it boosted their credibility enormously back home and has added to their attraction, so now they’re performing at festivals to 25,000 people. They’re playing a gig virtually every week and in between, they’re trying to write and record another album. So, they’re sending their parts to me too, that means I’m doing three albums parallel!

I guess whoever’s gets finished first will get released first! But it’s a lot more difficult not having them in the studio, because if they were there in person, you can bounce ideas off immediately. And the time difference with someone in China and being in Europe isn’t easy, usually when they’re in the studio, you’re going to bed! It’s a bit complicated! *laughs*

I want to make everyone happy, but I also like a challenge. When it all fits, it can be very rewarding.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Mark Reeder

‘Subversiv-Dekadent’ is released as a download double album, available from https://markreedermfs1.bandcamp.com/album/subversiv-dekadent

Mark Reeder’s Dirty Devil Remix of ‘Be A Rebel’ features on the NEW ORDER double 12” clear vinyl EP and expanded CD collection released by Mute Artists also featuring mixes by Arthur Baker, Stephen Morris, Bernard Sumner, Maceo Plex and Paul Woolford

A one hour long Operating//Generating special on Mark Reeder is broadcast for 4 weekends from Saturday 4th September 2021 at 1800 CET on laut.fm at https://laut.fm/operating-generating

https://mfsberlin.com/

https://www.facebook.com/mfsberlin

https://www.facebook.com/markreedermusic/

https://twitter.com/markreedermfs

https://www.instagram.com/markreeder.mfs/

https://open.spotify.com/artist/1n7yJzVVfUO2MiQskjmzqW

Vintage Synth Trumps is a card game by GForce that features 52 classic synthesizers available from
https://www.juno.co.uk/products/gforce-software-vintage-synth-trumps-2-playing/637937-01/

Text and Interview by Chi Ming Lai
1st September 2021

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