Sarah Anna Psalti aka SARAH P. started her music career in 2010 as the frontwoman of KEEP SHELLY IN ATHENS.
Working with the mysterious producer / musician RΠЯ, the pair actually did hail from the Greek capital, but sounded like they’d emerged from a frozen Fjord in Narvik. With hints of MARSHEAUX crossed with Polly Scattergood, their best track was possibly the dream laden chillwave of ‘Oostende’; it was what COCTEAU TWINS might have actually sounded like had they been a synth duo.
Called an “Electro pop Goddess” by Sound Injections, after she parted company with KEEP SHELLY IN ATHENS in early 2014, she relocated to Berlin to explore a pop / R’n’B hybrid direction while collaborating with artists including THE NEW DIVISION, THE BILINDA BUTCHERS and SUN GLITTERS.
Her debut eight song mini-album ‘Free’ is an artistic diary chronicling “a couple of years that have been rough and weird”, where she was “shyly and slowly moving from the ultimate darkness towards the light”. Fully utilising her gorgeously spooky voice, the end result is somewhat more direct than her previous work, maintaining a stark beauty while remaining eerie and sinister.
Opening song ‘Dirty Sunday’ gathers together a cacophony of abstract half beats and ethereal atmospheres like Polly Scattergood collaborating with Fifi Rong. There are hints of a sparser GOLDFRAPP too with ‘You’ll Never Know’ being an obvious reference point. The following ‘Let It Go’ has haunting Bush-like mannerisms over the inflected sub-bass, while the passionate, piano marked ‘Little Soul’ is almost a declaration of anger.
The immediate but avant statement of ‘I’d Go’ is wonderful slice of modern pop with a great chorus. With an afflicted demeanour of optimism, she announces “I’m not afraid, why should I be? Now I’m free…”
The kooky ‘Dishes’ is delightfully odd and uptempo, a brilliantly buzzy vintage synth solo making its presence felt towards the climax. ‘Moving On’ is even more driven and dramatic, possibly a comment from SARAH P. on leaving KEEP SHELLY IN ATHENS or even the economic-political situation in Greece. An incessant arpeggio dominates and with sweeping layers also joining proceedings, ‘Moving On’ is quite a captivating listen.
More subtle GOLDFRAPP references adorn ‘Golden Deer’ which is also great slice of dreamy electronic disco, before ‘Free’ closes with the off-kilter, leftfield electronica of ‘You Wouldn’t Understand’.
Varied and enticing, ‘Free’ is a vivid commentary on relationships and politics. As SARAH P. herself put it: “FREE is for all the lost souls out there. FREE is for my broken generation. FREE is for everyone who ever wished to start over. FREE is for everyone who ever felt lost. You’re not alone. We’re not alone. We have each other. And we’ll always have music!”
Without doubt, Mute Records is one of the most important record labels in the history of electronic music.
While the early electronic legacy of Virgin Records helped the genre gain its first foothold in the mainstream, the discerning ethos of Mute has maintained its presence in both pop and more experimental fields.
Like many, Mute supremo Daniel Miller began taking an interest in synthesizers as tools for making pop music after hearing KRAFTWERK’s ‘Autobahn’. The son of Austrian Jewish refugees, he was DJing on the continent after completing his film studies course when he became enthralled by the Kling Klang sound.
He was inspired to make electronic music himself but at the time, the equipment was prohibitively expensive. That all changed with the advent of affordable synthesizers from Japan manufactured by the likes of Korg and Roland.
Already a fan of German kosmische scene, his sense of experimentation and an adoption of punk’s DIY ethic led him to buying a Korg 700s. Wanting to make a punk single with electronics, he wrote and recorded ‘Warm Leatherette’ b/w ‘TVOD’ for a one-off independent single release in 1978. He needed a label name and chose ‘Mute’ after the button that came on the equipment that he had used as a film studies student.
Distributed by Rough Trade, MUTE 001 was a surprise success and thanks to him including his mother’s North London home address on the back of the striking monochromatic crash test dummy sleeve, Miller started receiving cassettes from kindred spirits who were keen to explore the brave new electronic world; he realised that a new scene was developing.
Through his connections at Rough Trade, he became aware of former art student Frank Tovey. As FAD GADGET, Tovey recorded ‘Back To Nature’ which was issued as MUTE 002 in October 1979. A seminal work that was also critically acclaimed, it helped establish Mute’s credentials as a champion of electronic music.
The first album released on Mute was ‘Die Kleinen Und Die Bösen’ by German band DEUTSCH AMERIKANISCHE FREUNDSCHAFT (DAF) in March 1980. Miller had signed them because “they weren’t relying on past rock”. The majority of STUMM 1 was recorded with the legendary Conny Plank at the controls of the studio recordings, while the remainder came from tape of a live gig at London’s Electric Ballroom.
DAF set the ball rolling in furthering Mute’s aspirations, while the Germanic influence continued through into the label’s cataloguing system as the album prefix Stumm was the German word for Mute.
Meanwhile, Miller was fascinated about the idea of synthesizers as the future of popular music and conceived a teenage pop group who would use only synths; he called them SILICON TEENS although in reality, this was actually his solo electronic covers project. Something of a novelty, his cover of ‘Red River Rock’ ended up on the closing credits of the Steve Martin / John Candy comedy ‘Planes, Trains & Automobiles’ in 1987!
But Miller’s dream became flesh and blood when he came across a young quartet from Basildon called DEPECHE MODE. Signed on a handshake 50/50 deal, while the group was a chart success, they fragmented after their 1981 debut album ‘Speak & Spell’. However the remaining trio of Andy Fletcher, Dave Gahan and Martin Gore recruited Alan Wilder, soldiered on and the rest is history. Meanwhile, the departed Vince Clarke went on to further success with YAZOO, THE ASSEMBLY and ERASURE.
With the label’s commercial success, Mute were able to back more experimental releases from Germany including the quirky single ‘Fred Vom Jupiter’ by ANDREAS DORAU & DIE MARINAS, and ‘Los Ninos Del Parque’ by LIAISONS DANGEREUSES. Mute’s business ethos, where money made from record sales allowed acts to develop within a sympathetic creative environment free from interference, proved to be key to its artistic and financial prosperity.
As the label expanded over the years, further signings included EINSTÜRZENDE NEUBAUTEN, LAIBACH, WIRE, BOMB THE BASS (through the Blast First subsidiary), INSPIRAL CARPETS, GOLDFRAPP while Moby and Nick Cave proved to be amongst the big successes . Meanwhile Miller took the ultimate step in his love of German music, acquiring the rights to the music of CAN and becoming the winning bidder for the vocoder used on ‘Autobahn’ when it came up for auction!
In May 2002, Mute Records was bought by EMI for £23m, although Miller remained as a figurehead and in charge of the company’s global activities. The label became the brand for the multi-national’s electronic music activities and when KRAFTWERK’s back catalogue was finally remastered by EMI, it was released under the Mute banner.
However, with rapid changes occurring within the industry as a result of the new digital marketplace, EMI and Miller reached an agreement in September 2010 to establish a second independently run record label under the name Mute Artists for new acts, while the Mute Records name and rights to the label’s archive recordings remained under the control of EMI via its new owners Universal. As owners of their own catalogue, DEPECHE MODE formally ended their association with the label that launched them and signed a lucrative licencing agreement with Sony BMG.
But the Mute story continues with acts such as MAPS and Polly Scattergood, while Miller’s latest addition to the roster has been NEW ORDER whose new album ‘Music Complete’ will be out on 28th September 2015.
So what twenty albums or EPs best represent Mute’s electronic legacy? With a restriction of one release per artist moniker, here are ELECTRICITYCLUB.CO.UK’s choices…
FAD GADGET Fireside Favourites (1980)
Following the success of singles ‘Back To Nature’ and ‘Ricky’s Hand’ with a small but loyal fanbase now established, a FAD GADGET album was eagerly anticipated. It came in September 1980 with ‘Fireside Favourites’ co-produced with Eric Radcliffe and John Fryer. it developed on the minimal industrialism of the singles. The superb ‘Coitus Interruptus’ was a cynical commentary on casual relationships while the Cold War tensions were documented on ‘Fireside Favourite’.
Following the acclaim that was accorded to THE NORMAL, Daniel Miller decided to undertake a new project where rock ’n’ roll standards such as ‘Memphis Tennessee’, ‘Just Like Eddie’ and ‘Let’s Dance’ were reinterpreted in a synthpop style, with Miller singing like he had a clothes peg attached to his nose. With his inherent shyness, the vehicle he used was SILICON TEENS, a fictitious synth group where several young actors were hired to appear in videos and do press interviews.
Disillusioned by the pop circus following the singles success of ‘New Life and ‘Just Can’t Get Enough’, Vince Clarke departed DEPECHE MODE in late 1981 and formed YAZOO with Alison Moyet. Although they only released two albums, YAZOO’s impact was long lasting. The debut ‘Upstairs at Eric’s’ was a perfect union of passionate bluesy vocals and pristinely programmed synthpop. Songs such as ‘Only You, ‘Don’t Go’, ‘Midnight’ and ‘Winter Kills’ set a high standard but the duo parted ways.
In a departure from DAF’s pioneering electronic body music, drummer Robert Görl lightened up considerably with a solo synthpop record that even had him posing bare chested by a swimming pool on the cover. ‘Night Full Of Tension’ even featured vocal contributions from EURYTHMICS’ Annie Lennox on ‘Charlie Cat’ and ‘Darling Don’t Leave Me’. Although not featuring on the original LP, the brooding but accessible single ‘Mit Dir’ was an electronic cult classic and included on the CD reissue.
Although success for ERASURE was not instant with debut album ‘Wonderland’ and its lost single ‘Oh L’Amour’, the chemistry between Clarke and Bell possessed a special spark. ERASURE toured the college circuit and built up a loyal fanbase, eventually hitting chart paydirt with ‘Sometimes’. ERASURE added political commentary ‘It Doesn’t Have To Be’ and ‘The Circus’ title track, while songs such as ‘Spiralling’ and ‘Hideaway’ confirmed they were more than just a great singles act.
Controversial Slovenians LAIBACH played with Teutonic rhythms and Third Reich imagery, while their unique covers of QUEEN’s ‘One Vision’ and OPUS’ ‘Life Is Life’ indicated they were either ironic art terrorists or preachers of a dangerous political message. Mute were accused of tolerating artists with far right sympathies but with Daniel Miller’s Jewish heritage, this was unlikely. Their industrial torture made an impact with ‘Opus Dei’, particularly on RAMMSTEIN.
‘Counterfeit’ allowed Gore to indulge in six covers with varying origins. The emotive traditional standard ‘Motherless Child’ revealed his love of the Blues while a great version of SPARKS’ ‘Never Turn Your Back On Mother Earth’ was a fitting look back at the eccentric pop that would have fed the young Mr Gore. Reinterpretations of cult artists such as TUXEDOMOON, THE DURUTTI COLUMN and THE COMSAT ANGELS revealed there was a lot more to Gore’s record collection.
Why is ‘Violator’ so important and highly celebrated? It is still DEPECHE MODE’s most complete and accomplished body of work. It was the classic Fletcher/Gahan/Gore/Wilder line-up firing on all cylinders and at their most happiest as a unit. The end result was four hit singles but also songs such as ‘Halo’, ‘Waiting For The Night’ and ‘Clean’ which were easily their equal. And on ‘Blue Dress’, Gore’s lyrics possessed an honesty that while dark and deviant, still retained a naïve innocence.
‘As Is’ saw Essex industrialists NITZER EBB at the height of their imperial powers. Although produced by the band, each song was mixed by a different artist or producer. These included Jaz Coleman from KILLING JOKE, producer Flood and MAGAZINE’s Barry Adamson. But the best number was ‘Come Alive’ mixed by Alan Wilder which had the legacy of ‘Violator’ stamped all over it. The subsequent album ‘Ebbhead’ which was produced by Wilder and Flood.
While there had been two EPs ‘1 + 2’ and ‘Hydrology’ by RECOIL, Alan Wilder’s solo sideline to DEPECHE MODE, it wasn’t until 1992 that there was a full length album. ‘Bloodline’ featured vocals from NITZER EBB’s Douglas McCarthy, Toni Halliday of CURVE and Moby. Wilder’s brooding electronic soundscapes and meticulous production made their presence felt and it was McCarthy’s contributions to a cover of Alex Harvey’s ‘Faith Healer’ that stole the show.
When Moby was signed by Daniel Miller, he was considered to be a one hit wonder with ‘Go’ in 1991. His first proper album ‘Everything Is Wrong’ arrived in 1995. The superb instrumental ‘First Cool Hive’, the happy hardcore of ‘Feeling So Real’, the gospel punk of ‘All That I Need Is To Be Loved’ and the neo-classical ‘Hymn’ showcased his eclectic tastes. Miller’s tremendous foresight turned out to be a wise decision when the unexpected success of ‘Play’ in 1999 provided a boost for Mute.
London duo Simon Leonard and David Baker began as I START COUNTING and then morphed into FORTRAN 5. But as KOMPUTER, they created some heavily KRAFTWERK influenced numbers to make up for the lack of new material. From their first ‘EP’, ‘We Are Komputer’ was their own ‘The Robots’, while there was also the tribute to the first female Cosmonaut ‘Valentina Tereshkova’ which mined ‘The Model’.
The concept of PEACH was ‘ABBA meets THE KLF’. Released in September 1997, ‘Audiopeach’ is one of those albums that has been lost in the midst of ‘Cool Britannia’. The album’s reputation was based on the participation of its two instrumentalists Pascal Gabriel and Paul Statham. Completing PEACH’s line-up was singer Lisa Lamb. The album’s launch single ‘On My Own’ was classic pop for the modern era with Lamb’s vocal delivery akin to Belinda Carlisle going electro.
While LADYTRON were using their Korg MS20s making sinewaves in a more pop oriented setting, ADD N To (X) took their MS series synths into more obscure, experimental territory. ‘Add Insult To Injury’ had one half written / performed by Ann Shenton and Steve Claydon, while the other was written / performed by Barry 7. The wonderful robotic sexual tension of ‘Plug Me In’ and the creepy noise fest of ‘Hit For Cheese’ were highlights.
‘Felt Mountain’ was a superb introduction to the then electro Weimar Cabaret cinematics of Alison Goldfrapp and Will Gregory. Beginning with the superb ‘Lovely Head’ with its spine tingling whistle and MS20 assisted banshee wails, the album thrilled with Morricone style widescreen inflections to accompany an ascent to the Matterhorn rather than a trek through a Spaghetti Western. ‘Felt Mountain’ was a slow burner that was nominated for the Mercury Music Prize.
VINCENT CLARKE & MARTYN WARE Spectrum Pursuit Vehicle (2001)
‘Spectrum Pursuit Vehicle’ was composed as part of an installation where the colours referred to in the titles of the six lengthy pieces were ‘programmed to cross fade imperceptibly to create an infinite variation of hue’ in a white clothed room. Tracks like ‘White – You Are In Heaven’, ‘Yellow – You Are On A Beach’, ‘Blue – You Are Underwater’ and’ Green – You Are In A Forest’ were all utilised to full effect with a binaural 3D mixing technique best heard using headphones.
In 2002, DUBSTAR’s Sarah Blackwood was recruited to front synthpop duo TECHNIQUE by Kate Holmes. In Leipzig supporting DEPECHE MODE, they became CLIENT and were mysteriously referred to as Client A and Client B in a ‘1984’ inspired Orwellian twist. Signed to Mute via Andy Fletcher’s Toast Hawaii imprint, they announced “Client… satisfaction guaranteed… innovate never imitate… we aim to please… at your service” before a “F*** OFF! DON’T TOUCH ME THERE!”
His solo debut ‘Paper Monsters’ was a disappointment, but Dave Gahan was still finding his feet as a songwriter, becoming more realised on ‘Playing The Angel’. ‘Hourglass’ was better and ‘Kingdom’ could have made a great DM recording. But in the same way that Mick Jagger’s 1984 Nile Rodgers produced solo debut LP having very few takers meant that the ROLLING STONES would continue ad infinitum, would DEPECHE MODE still be going if Mr Gahan’s solo career had taken off?
While Mute continues to diversify, the more esoteric pop aspirations of Mute’s synthetic roster continues. MAPS is the vehicle of James Chapman; with a more expansive electronic template, his third album ‘Vicissitude’ was a selection of very personal songs with a strong melodic backbone. Unafraid to let the instrumental synth elements take a role in the overall aesthetic, tracks like ‘AMA’ and ‘You Will Find a Way’ put MAPS into the same league as M83 and EAST INDIA YOUTH.
Polly Scattergood signalled the more electronic journey of her second album ‘Arrows’ with the marvellous electro-COCTEAU TWINS twist of ‘Wanderlust’. While there were still signs of her folkier roots, synthetic textures and technological trickery were very much part of the action. The sad but driving pop of ‘Falling’ and ‘Subsequently Lost’ attracted empathy with Polly World, while the highly emotive ‘Miss You’ and the dreamy ‘Cocoon’ displayed her vulnerability.
It would be fair to say that Mute Records’ initial commercial success came on the back of Vince Clarke’s songcraft.
First with DEPECHE MODE in 1981 and then YAZOO in 1982, Clarke demonstrated that Mute Records had some marvellous pop sensibilities amongst all the cult acclaim that was accorded to acts like THE NORMAL, DAF and FAD GADGET.
He was to become one of the key players in an exciting period of music that was eventually documented in the BBC4 programme ‘Synth Britannia’. Born Vincent John Martin in Basildon, Clarke cut his teeth performing his own songs with a number of local bands including FRENCH LOOK. But it was when he formed COMPOSITION OF SOUND with Martin Gore and Andy Fletcher that things got more serious. There was a new music revolution around the corner involving affordable synthesizers from Japan.
With Clarke’s love of OMD’s now classic ‘Electricity’ single and its B-side ‘Almost’ coinciding with Martin Gore’s purchase of a Yamaha CS5, he and Fletch soon bought a Kawai 100f and Moog Prodigy respectively to follow this new futuristic direction. However, unhappy with his own voice, Clarke recruited college student Dave Gahan as vocalist to fully realise their new ultrapop sound. They renamed themselves DEPECHE MODE after a French fashion magazine.
Photo by Deb Danahay
Signing to Mute Records, the debut single ‘Dreaming of Me’ made an impressive first chart showing at No57 for DEPECHE MODE in Spring 1981 while they also appeared on the ‘Some Bizzare Album’ compiled by Futurist DJ Stevo Pearce which also showcased SOFT CELL, THE THE, B-MOVIE and BLANCMANGE. But after the hit singles ‘New Life’ and ‘Just Can’t Get Enough’, Clarke soon became disillusioned with touring and the general pop circus despite the success. And there was also that old chestnut of musical differences.
A song submitted by Clarke at rehearsals called ‘Only You’ had apparently been rejected by the other members of DEPECHE MODE. So teaming up with local girl Alison Moyet in a new combo called YAZOO, they released ‘Only You’. It reached No2 in the UK singles chart, higher than any DEPECHE MODE single had reached at the time and Clarke was vindicated. Although denied the top spot, the song reached No1 in an accapella rendition by THE FLYING PICKETS in 1984.
However, Clarke was reprising the personal disillusionment that had seen him leave DEPECHE MODE. He moved on to produce his mate Robert Marlow via his own Reset Records imprint and record as THE ASSEMBLY with THE UNDERTONES’ Fergal Sharkey and YAZOO’s producer Eric Radcliffe.
But it was in 1985 that Clarke finally settled down; he placed a small ad in Melody Maker that said “Versatile voice wanted for established songwriter”. After auditions, Andy Bell was the succesful applicant and ERASURE were formed.
Although success was not instant, the chemistry between Clarke and Bell possessed a special spark both musically and personally; the pair have become one of the most consistent UK pop acts ever with hits such as ‘Sometimes’, ‘Victim Of Love’, ‘The Circus’, ‘A Little Respect’, ‘Stop!’, ‘Chorus’ and ‘Breath Of Life’.
Running in parallel over the years, there have been numerous other projects with 3D sound and computer games. Following working together on ERASURE’s ‘I Say I Say I Say’ issued in 1994, Clarke founded the Illustrious company with Martyn Ware to exploit the creative possibilities of 3D sound technology. Their first release was ‘Pretentious’ as THE CLARKE & WARE EXPERIMENT.
Photo by Joe Dilworth
With THE SATURDAYS in particular, this five piece girl group were practically joined at the hip with Clarke; their first single ‘If This Is Love’ sampled YAZOO’s ‘Situation’ while their sixth was a cover of ‘Just Can’t Get Enough’ for Comic Relief!
Indeed, as YAZOO reformed in 2008 for the ‘Reconnected’ live tour, their musical template was a much coveted sound among girl groups in the late noughties, the best example of which was RED BLOODED WOMEN using ‘Don’t Go’ as the basis for their feisty number ‘Colour Me Dirty’. It was recognition of how absorbed into the mainstream Clarke’s music had become.
Remixes in particular have seen Vince Clarke’s portfolio expand. His Midas touch has been commissioned notably for songs by SPARKS, GOLDFRAPP, BLANCMANGE and FUTURE ISLANDS. But his appeal has spread across all genres, as indicated by HAPPY MONDAYS’ 1988 invitation to rework ‘Wrote For Luck’ as well as more comparatively recently, remixes of FRANZ FERDINAND’s ‘No You Girls’, DIDO’s ‘End of Night’ and THE SATURDAYS’ ‘Issues’.
But one of the best covers of his songs came in 2012 when RÖYKSOPP and Susanne Sundfør recorded ‘Ice Machine’. With ERASURE releasing their best album in nearly a decade with ‘The Violet Flame’ and ‘Only You’ being used in a McVities TV ad, Clarke’s stock is as high as ever. Further reinforcement came recently via an episode of the acclaimed Cold War spy drama ‘The Americans’, which featured ‘Upstairs at Eric’s’ as part of the plot.
So what tracks would make up an imaginary 20 track double CD retrospective as an introduction to Vince Clarke’s work? With a restriction of one track per album project, this list is not a best of as such, but a chronological compendium of historic and artistic adventures that capture the career diversity of a man who used synthesizers to present traditional song structures with that something different.
DEPECHE MODE Photographic – Some Bizzare Version (1981)
The recording that started it all off, the first version of ‘Photographic’ was driven by Mute supremo Daniel Miller’s klanky Korg 55 Rhythm box. It was undoubtedly the stand-out on the ‘Some Bizzare Album’, shading SOFT CELL’s ‘The Girl With The Patent Leather Face’. Much darker than the eventual ‘Speak & Spell’ album take, while tuneful, ‘Photographic’ was not indicative of the supreme pop nous that Clarke was later reveal.
A fine debut single from DEPECHE MODE, the infectious melody of ‘Dreaming Of Me’ and closing “la-la-la” refrain borrowed from ‘Make Me Smile (Come Up & See Me)’ by COCKNEY REBEL (incidentally later covered by ERASURE) were a dreamboat combination as a naïve but snarly Dave Gahan interpreted Clarke’s rather bizarre lyrics. although not a Top 40 hit, as a great slice of synthpop, it certainly deserved to be…
Available as a bonus track on the DEPECHE MODE album ‘Speak & Spell’ via Mute Records
YAZOO In My Room – David Jensen BBC Session Version (1982)
‘In My Room’ was a good song from ‘Upstairs at Eric’s’ but was spoiled by the tape loop experiments featuring Clarke’s voice For a David Jensen BBC session, these spoken word passages were omitted and the track was reworked using a Fairlight. While much sparser, this superior version allowed the beautifully dark nature of ‘In My Room’ to shine with Alison Moyet on tremendously passionate vocal form.
Originally the B-side to ‘The Other Side Of Love’, ‘Ode to Boy’ was one of only three songwriting collaborations Clarke did with Moyet while in YAZOO. The song itself was Moyet’s own personal tribute to Clarke, and despite their difficulties in gelling as people, the chemistry between them in this sparse but hypnotic track showed that musically at least, there was potentially more great work to come, had they been able to stay together.
Available on the YAZOO album ‘‘You & Me Both’ via Mute Records
On what turned out to be THE ASSEMBLY’s only single, ‘Never Never’ saw Fergal Sharkey providing his distinctive warble which was marvellously counterpointed with his very Moyet-esque backing vocals. It was an interesting concept to feature guest vocalists over Clarke’s songs but the only track that did eventually surface from these sessions was ‘One Day’ with Paul Quinn from BOURGIE BOURGIE.
“In the middle of the YAZOO project, I tapped him on the shoulder and said ‘I’ve got some songs, can you give me a day in the studio?’” recalled Robert Marlow, Clarke’s best friend and a cult figure in the Basildon music scene. ‘The Face Of Dorian Grey’ was the first fruit of labours and was released on Reset Records, a label set up by Clarke and Eric Radcliffe that was licensed initially to RCA. But the single wasn’t a hit and RCA later withdrew funding.
Available on the ROBERT MARLOW album ‘‘Peter Pan Effect’ via Energy Records
Clarke placed a small ad in Melody Maker that said “Versatile voice wanted for established songwriter”; a 21 year old Andy Bell was audition #36 and what set the ex-butcher apart from the others was his ability to hit falsetto during the audition piece ‘Who Needs Love (Like That)’. Impressing not only with his Moyet-esque vocal technique but range too, in neo-X Factor style, the judging panel of Clarke, producer Flood and Daniel Miller declared Bell as the winner… ERASURE were born.
Available on the ERASURE album ‘Wonderland’ via Mute Records
TWILIGHT comprised of ERASURE’s tour manager Andrew Mansi and soon-to-be NITZER EBB tour manager Steev Toth. Vince Clarke would produce what turned out to be their only single. ‘Just Me Alone’ was great synthpop regardless, but that VC touch gave it something special. The B-side ‘Talk To You’ showed TWILIGHT did indeed have songwriting talent, but the duo went back to their day jobs with their point proven.
Originally released as a single via Polydor Records, currently unavailable
Imagine Roy Orbison doing electropop… that was the concept of ‘Blue Savannah’. Uncluttered and full of soaring optimism, this glorious ditty has crossed over to be one of ERASURE’s most universally loved songs and is without doubt, equal to ‘A Little Respect’. It came in the middle of an imperial phase that began with ‘The Innocents’ and continued to the ‘ABBA-Esque’ EP reaching No1 and the spectacular 1992 theatrical shows.
Available on the ERASURE album ‘Wild!’ via Mute Records
ERASURE’s seventh self-titled album was Vince Clarke’s attempt at prog synth or as Andy Bell referred to it, the duo’s own ‘Dark Side Of The Moon’ ie ‘Bright Side Of The Sun’. It was an ambitious, if flawed opus with extended intros and the sub-10 minute numbers like ‘Rock Me Gently’. The brilliant ‘Fingers and Thumbs (Cold Summer’s Day)’ was possibly their most underrated single.
CHINESE DETECTIVES hailed from Norway and only doing cover versions of New Wave classics as a “SILICON TEENS of the 90s”. Among their reworkings was ‘Situation’ but with a taste for the obscure, having named themselves after the plinky instrumental interlude of YAZOO’s 1982 concert tour, they recorded their own version of it. Very much a note-for-note transcription, it remains the only officially released version of the track.
When Vince Clarke and Martyn Ware followed up ‘Pretentious’, ‘Spectrum Pursuit Vehicle’ formed part of an art installation where the colours referred to in the titles of the six lengthy pieces were “programmed to cross fade imperceptibly to create an infinite variation of hue”. Using binaural 3D mixing techniques, tracks such as ‘Green’ took the looming symphonic string template of OMD’s ’66 & Fading’ into a new spacey dimension.
‘The Floating World’ was an instrumental that closed the SIMPLE MINDS’ rather dull ‘Cry’ album. Basically a thumping rave version of the ‘Dr Who Theme’, closer scrutiny revealed this track to be written by one ‘V. Clarke’. It was more like the band’s early electronic experiments such as ‘Film Theme’ and ‘Theme For Great Cities’; this unlikely collaboration was SIMPLE MINDS’ most interesting work in nearly 15 years.
Available on the SIMPLE MINDS album ‘Cry’ via Eagle Records
Following 2001’s dull “indie” album ‘Loveboat’ and their inconclusive covers compendium ‘Other People’s Songs’, Andy Bell and Vince Clarke made ‘Nightbird’, possibly their best album since ‘The Innocents’. Made entirely using soft synths and more layered than anything before, ‘Here I Go Impossible Again’ was one of the highlights in a brilliant cohesive collection of work. It was proof if that if you’ve got it but have lost it, you can get it again back if you keep trying…
Available on the ERASURE album ‘Nightbird’ via Mute Records
POLLY SCATTERGOOD Other Too Endless – Vince Clarke Remix (2009)
Polly Scattergood was managed by former Mute plugger Neil Ferris and her self-titled debut came out on Mute in 2009. An intense organic collection of ethereal songs, Scattergood was a promising talent unafraid to express emotion and vulnerability. From it, ‘Other Too Endless’ was bolstered by a superb VC remix and highlighted the compatibility of her sound within a synthesized pop environment.
Available on the POLLY SCATTERGOOD single ‘Other Too Endless’ via Mute Records
THE GOOD NATURED were a British pop trio who initially made a splash with a more conventional template on singles like ‘Be My Animal’. But they keen to collaborate and explore more electronic territory. ‘Ghost Train’ originated from a demo that Clarke sent over to the band. Singer Sarah McIntosh’s voice was given a layered, almost robotic aesthetic. Like a futuristic funfair ride, ‘Ghost Train’ swooped in a manner that was very appealing. They later changed their name to LOVESTARRS.
Originally released as a free download via Astralwerks, currently unavailable
ELECTRIC YOUTH are a synthesizer couple hailing from Edmonton in Canada. Having enjoyed ‘A Real Hero’, Bronwyn Griffin and Austin Garrick’s contribution to the ‘Drive’ soundtrack, Clarke accepted the duo’s invitation to provide his production and mixing skills to the dreamy synthpop of ‘The Best Thing’. Bringing a vintage Yamaha CS80 along to the session, this laid back but melodic ditty was enhanced by the input and came out as ELECTRIC YOUTH’s second single.
Available on the ELECTRIC YOUTH album ‘Innerworld’ via Last Gang Entertainment / Secretly Canadian
At 2011’s Short Circuit Presents Mute, Martin Gore discussed with Vince Clarke about collaborating on some minimal techno sketches. After a period of exchanging sound files via the web, the fruits of their endeavours were released as ‘Ssss’ by Mute. Very much Martin Gore’s “kind of disco”, tracks like ‘Spock’ and ‘Single Blip’ were more accessible than purer forms of techno, but the best track was ‘Lowly’ with its sweeping synthetic strings over robotic rhythms.
Available on the VCMG album ‘Ssss’ via Mute Records
VINCE CLARKE & ANA BRUN Fly On The Windscreen (2012)
Novelist Tonya Hurley commissioned her brother-in-law to record a stark cover of his former band’s ‘Fly On The Windscreen’ with vocalist Ane Brun, as part of promotion for her literary trilogy ‘The Blessed’. While the original guitar-like textures were retained, the rest of the widescreen arrangement was quite different with a vulnerable feminine Gothic twist that acted as the ‘Twilight’ Generation’s perfect introduction to DEPECHE MODE.
Following the disappointment of 2011’s ‘Tomorrow’s World’, ‘The Violet Flame’, produced by Richard X saw ERASURE return to form and express an infectious zest for the future. Following his VCMG techno project, the songs began with Vince Clarke’s pre-recorded dance grooves. The result was a much more immediate album and ‘Dead Of Night’ was its euphoric opening number.
The label which brought the world DEPECHE MODE, FAD GADGET, YAZOO, ERASURE, MOBY and GOLDFRAPP has been continuing its tradition of developing artists who combine quality songwriting with musical experimentation.
Along with Northampton’s MAPS, Colchester born songstress Polly Scattergood is one of a number of up-and-coming acts now on the legendary Mute roster. She was first introduced to Mute supremo Daniel Miller by Neil Ferris, a legend in DEPECHE MODE fan circles for his promotional work via The Ferret Plugging Company for the Basildon boys.
Her self-titled debut came out on Mute in 2009 to largely positive reviews. An intense organic collection of ethereal songs, Scattergood revealed herself to be a promising talent unafraid to express emotion and vulnerability, especially on numbers such as the quirky ‘Nitrogen Pink’ and the embittered epic ‘I Hate The Way’. Meanwhile, ‘Other Too Endless’ was bolstered by a superb Vince Clarke remix and highlighted the compatibility of her music within a synthesized environment.
Following a breathy guest spot on BEF’s 2012 covers LP ‘Music Of Quality & Distinction Vol3 – Dark’ performing ‘The Look of Love’, Scattergood finally launched the campaign for her second album ‘Arrows’ with the electro-COCTEAU TWINS twist of ‘Wanderlust’ in February 2013.
Support slots with label mates GOLDFRAPP followed in the summer before the album was finally unleashed to the public in September. The brilliant ‘Cocoon’ indicated that while she there were still signs of her folkier roots, synthetic textures and technological trickery were now much more part of the action.
More uplifting uptempo elements also featured with the accessible pop drive of ‘Falling’ and ‘Subsequently Lost’. Her love of BJörk and Kate Bush however has been maintained, especially with the highly emotive ‘Miss You’ and the dreamy ‘Silver Lining’ which sounded like it could have been a collaboration with Moby.
In all, ‘Arrows’ is a true grower of an album in which the obvious passion and vulnerability of the kooky Essex songstress can only attract empathy with Polly World. With a busy 2014 ahead of her, Polly Scattergood took time out to chat about her career so far…
After what appears to have been a steady start to the ‘Arrows’ campaign, things appear to be gaining momentum now?
Yeah, it feels good. I have made an album I’m proud of and the reaction from the people and the press and stuff has been great. We played a sold out show in London the other week and my new single is out March 10th – it all feels good.
How does ‘Arrows’ differ for you compared to your debut?
Big uplifting highs next to big lows… my debut album was mainly lows.
You hopped between Berlin and Norfolk to write and record. How did those contrasting environments help with your muse?
I’m massively influenced by my environment and each location gave me energy and I put that into the songs.
A fair number of your songs lyrically refer to the mind of a casualty like ‘Subsequently Lost’, ‘Disco Damaged Kid’ and ‘Falling’ whether from a personal or narrative point of view; are these autobiographical experiences?
Some of them are autobiographical. It’s a mixture, in order to write a song that makes people feel something, I think you have to feel it yourself.
‘Wanderlust’ is a startling avant pop number and appears to be a pivotal song on ‘Arrows’?
Yes, for me it was one of the tracks that really started the writing journey that I went on for this new album.
‘Wanderlust’ also signalled what appeared to be a greater use of electronics in your work? What sparked that shift?
I have always been fascinated by electronics. When I made my first album, although I enjoyed experimenting, it was all fairly new to me. But by the time I made ‘Arrows’, I guess I felt more confident in the sound I wanted to make.
Photos by Richard Price
What sort of instruments have you been you newly experimenting with for ‘Arrows’?
So many I can’t list them all, but the Minimoog is my favourite. And I played on an Axis Virus last week, I really want one. Synths and shoes they are my vice.
Just out of interest, what made you choose the Moog Little Phatty as your live synth of choice?
Because we used a Moog lots on the album and so it seemed like the right choice to play it live. It’s also such a beautiful instrument, it looks cool and it sounds cool.
You also use an iPad app in your show which acts a nice visual component. How do you see music technology heading? Is there something you would like to have that perhaps hasn’t been made yet?
I do think that the iPad is an incredible instrument, I wish they would put it on a strap so you can hang it round you like a guitar. People maybe see it as a gimmick but they maybe haven’t really used it to its full capabilities. The iPad has some incredible apps we used it quite a lot on the album. It’s great for noise and is visually interesting too.
Photo by Frank Bauer
You dig deep emotionally, especially with tracks like ‘Miss You’. Where does that strength come from and how do you handle having to revisit those feelings when performing live?
I sleep for hours after a show, I think subconsciously it takes a lots of energy… but is quite cathartic.
I understand you’re a fan of Leonard Cohen. What did you think of his electronic phase with songs like ‘First We Take Manhattan’ and ‘I’m Your Man’?
I love most things he has done. I saw him at Glastonbury a few years ago, it was one of the best gigs I have ever experienced.
Photo by Frank Bauer
You attended the Brits School. How did you find being in such an environment?
I am always a bit of an outsider, I have a few really close friends that I made there, but I am quite shy, and it takes me a while to get really close to people. It was a good place for me though, I learned a lot, it was the first time in my life I enjoyed being educated.
How aware were you of Mute’s history when you were considering signing with them?
I had grown up listening to Mute bands so I knew how legendary they are as a label.
Your music is quite esoteric and not immediate in a pop sense. What are the advantages for you of being with Mute as opposed to a conventionally focussed label?
They are a great label they understand me as an artist. They put great care into everything they do and have supported me through two albums which is rare especially in this day and age.
Of course, one of Mute’s major success stories is Vince Clarke who did a mix of ‘Other Too Endless’ and has now contributed his reworking of ‘Subsequently Lost’… how was that for you?
Yeah, it was an absolute honour to have him remix ‘Subsequently Lost’, I have been a fan of his work for years
Remixes are quite a big part of Polly World. There have been some great remixes from people like THE GOLDEN FILTER on ‘Please Don’t Touch’ and Tara Busch on ‘Bunny Club’ while you have also done remixes yourself of other artists such as MAPS and M83. How does remix culture sit within your own musical ethos and development?
I think it’s good, it’s like a breath of fresh air when you hear another artist’s take on your work, especially for me when people remix tracks I have worked on for a couple of years. I suddenly hear all these new bits I forgot I had done and got buried in the mix. I love remixing other artists, I would like to do more. You get to have all the fun of being in the studio and playing with someone’s work, their baby, but then you give it back at the end of the day and the pressure is off. It’s an enjoyable experience.
Photos by Richard Price
Between your debut and ‘Arrows’, you performed and recorded a great cover of ‘The Look Of Love’ with BEF. Would there be any other songs you would like to reinterpret?
I covered ‘New York New York’ for EA games’ ‘Crysis 2’ trailer. I do enjoy reinterpreting other people’s songs, but I think deep down nothing beets the buzz of writing them yourself.
What is next for you in 2014?
Well my new single ‘Subsequently Lost’ is out March 10th and you can pre-order it now! I have a few other things in the pipeline, I am working hard in the studio writing again which is my greatest pleasure. I’m also doing a few side projects and in my downtime I’m doing a little collaboration with my friend who is a jewellery designer; we are designing an ‘Arrow’s inspired collection for her company Bloodymarymetal. So it’s going to be a busy 2014 but all exciting!
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Polly Scattergood
Special thanks also to Mellissa Bradbury at Brilliant! Artist Management
The intimate surroundings of The Workshop in London was the venue for emerging Mute artist Polly Scattergood.
Polly Scattergood released her debut self-titled debut album in 2009 to great critical acclaim. Her guest spot on BEF’s 2012 covers LP ‘Music Of Quality & Distinction – Dark’ singing the Bacharach and David classic ‘The Look Of Love’ also exhibited her versatility as a interpreter as well as a songwriter.
With influences such as Bjork and COCTEAU TWINS, her promising sound has undergone a natural progression for its grower of a follow-up ‘Arrows’. Taking on more synthetic textures but retaining her kooky, affected vocals, the brilliant ‘Cocoon’ and ‘Falling’ initiated proceedings. With her charming banter and enigmatic oddness, Scattergood came over like a cross between Sarah Brightman and Sally Thomsett from ‘Man About The House’. Swigging from her brandy bottle for ‘medicinal purposes’, she very much endeared herself to everyone present.
‘Subsequently Lost’ almost stole the show with its accessible NEW ORDER drive and an air of fragility. A vocodered double track provided a chilling schizophrenic feel. ‘Disco Damaged Kid’ was another enticing casualty ditty that successfully merged Norfolk with Berlin!
With the horrendous rainy winter the UK was having as the backdrop, the ‘Arrows’ material now made total sense. However, when Scattergood opted for her starker, more esoteric compositions like ‘Colours Colliding’ and ‘Machines’, it did appear to bemuse the club inclined regulars in attendance while the crowd who were there for her were totally mesmerised.
On the passionate and stripped bared ‘Miss You’, the totally bonkers Polly’s stage persona really let rip. Despite her traumas in Polly World, everyone is rooting for her and this is her trump card!
When the set concluded with the deliciously wired avant pop of ‘Wanderlust’, live keyboardist Glenn Kerrigan joined Scattergood at her Moog Little Phatty for a magnificent sweeping and swirly climax. Scattergood gave a wonderfully passionate performance that exposed a captivating vulnerability.
As an artist marked out the vein of Elizabeth Frasier and Alison Goldfrapp, luckily she is on a label that will let her persue artistic aspirations rather than sales. Her career trajectory can only ascend; it should be a cracking third or fourth album…
We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it.Ok
for a one-off independent single release in 1978. He needed a label name and chose ‘Mute’ after the button that came on the equipment that he had used as a film studies student.
which was issued as MUTE 002 in October 1979. A seminal work that was also critically acclaimed, it helped establish Mute’s credentials as a champion of electronic music.
by German band DEUTSCH AMERIKANISCHE FREUNDSCHAFT (DAF) in March 1980. Miller had signed them because “they weren’t relying on past rock”. The majority of STUMM 1 was recorded with the legendary 
. However the remaining trio of Andy Fletcher, Dave Gahan and Martin Gore recruited Alan Wilder, soldiered on and the rest is history. Meanwhile, the departed Vince Clarke went on to further success with YAZOO, THE ASSEMBLY and ERASURE.
will be out on 28th September 2015.
was released as STUMM 3
was released as STUMM 2
was released as STUMM 7
was released as STUMM 16
was released as STUMM 35
was released as STUMM 44
released as STUMM 67
was released as STUMM 64
was released as MUTE 122
was released as STUMM 94
was released as STUMM 130
was released as MUTE 175
was released as STUMM 153
was released as STUMM 187
was released as STUMM 188
was released as STUMM 194
was released as TH 003
was released as STUMM 288
was released as STUMM 354
was released as STUMM 328
via Mute Records
via Mute Records
via Mute Records
via Energy Records
via Mute Records
via Mute Records
via Mute Records
via Sub Culture Records
via Mute Records
via Eagle Records
via Mute Records
via Last Gang Entertainment / Secretly Canadian
via Mute Records
via Amazon and iTunes
via Mute Artists
is a true grower of an album in which the obvious passion and vulnerability of the kooky Essex songstress can only attract empathy with Polly World. With a busy 2014 ahead of her, Polly Scattergood took time out to chat about her career so far…
Follow Us!