‘The Lost Are Found’ is an emotive body of songs, each from their very own world, but together blending to form an 11 episode triste drame.
The journey started when Claudia Brücken teamed up with the top producer Stephen Hague whose credits have included PET SHOP BOYS, OMD, ERASURE, COMMUNARDS, NEW ORDER and A-HA. Recording two brand new songs ‘Thank You’ and ‘Night School’ for her ‘Combined’ retrospective in 2011, they bookended that phase of her career which began of course with PROPAGANDA. ‘Thank You’ in particular captured a Bond Theme meets MASSIVE ATTACK vibe and planted the seed for an intriguing project which was the idea of her daughter Maddy.
Claudia Brücken told ELECTRICITYCLUB.CO.UK back in July: “The theme is melancholy songs…they’re sad but they don’t make you slash your wrists. I recorded it in four months with Stephen Hague and we had this real clear vision of what we wanted to do”.
Despite the varying eras of the compositions, memories and emotions within the human condition exist whatever the period. So by default, songs of love and heartbreak are generally timeless. And because many of these carefully chosen songs are semi-obscure, even within the catalogues of some of their more high profile writers, this album can be approached with fresh ears, like an adventure that has been previously uncharted. In that respect, ‘The Lost Are Found’ does exactly what it says on the tin.
The journey begins with the ethereal ‘Mysteries of Love’ written by David Lynch and Angelo Badalamenti. Layers of treated voices climb over synth mountains as lonesome ivories and glacial atmospheres bring Middle America to Alpine Europe. As featured in the film ‘Blue Velvet’ in its Julee Cruise version, also on the soundtrack was Roy Orbison’s ‘In Dreams’, another song which Claudia has previously recorded. One suspects this surreal film noir might be one of her favourites.
Following it, ‘Memories Of A Color’ from Nordic avant songstress Stina Nordenstam is a mix of acoustic and electric guitars with distorted organ over a mid-tempo percussive jazz shuffle as Claudia’s vocals provide an approachable counterpoint. Although ‘The Lost Are Found’ features a technological base, this is probably the most organic collection Claudia Brücken has ever recorded. Although her excellent ‘Another Language’ long player with Andrew Poppy was acoustic, that relied on stark, minimal theatre for its effect. ‘The Lost Are Found’ combines the ice maiden chill with a fuller naturalistic warmth for an artful but accessible sound.
One nice surprise is ‘The Day I See You Again’ from DUBSTAR’s first album ‘Disgraceful’; Claudia’s reinterpretation of the kitchen sink drama about a man who has grown to be “more Morrison than Morrissey” is done Düsseldorf style with Weimar piano and beautiful flügel tones complimenting the resigned frustration. Then one of the albums highlights arrives with ‘Everyone Says Hi’, a brilliantly lively take on one of Bowie’s more recent numbers dressed with catchy riffs and fuzzy shades.
Lesser known ELO B-side ‘One Summer Dream’ was the first song to emerge from these sessions and begins with a vintage gramophoned segment before building to a pretty John Barry influenced, ‘Felt Mountain’-era GOLDFRAPP arrangement which is frankly quite wonderful. Interestingly, Jeff Lynne himself has recorded his own album of classic tunes recently called ‘Long Wave’.
Another Stina Nordenstam work ‘Crime’ emerges with its pizzicato colours, subtle bass and sparring six string. It acts as a steadfast mid-album interlude in almost hushed resonance before it all snaps back into place with THE LILAC TIME’s ‘The Road To Happiness’. Here Stephen Duffy’s ironic ditty kisses Claudia within an idyllic setting of angelic chorals, spritely strums and French accordion courtesy of Stephen Hague. Salute!
Perhaps thanks to Stephen Hague’s production duties on the original, Claudia’s reworking of PET SHOP BOYS’ ‘Kings Cross’ retains the song’s melancholic edge, the metaphor of capitalism is actually very much still intact. But how it differs is the pressure now rises to a dramatic climax and adds a rush not previously apparent in the song. On the album’s singular new composition from The Burt Bros called ‘No One To Blame’, hints of ‘Spiegel Im Spiegel’ like an antique music box flit in while the electronic orchestration lifts the tune into a dreamboat setting as Claudia’s timbres alternate between innocence and worldliness.
As ‘The Lost Are Found’ steps to its conclusion, the revamp of ‘And The Sun Will Shine’ rom BEE GEES’ 1968 album ‘Horizontal’ is marvellously majestic with rousing string stylings, the neo-Riviera flavour sitting well with the soaring chorus. The album closes with Robbie Robertson and Richard Manuel’s rustic ‘Whispering Pines’ from which ‘The Lost Are Found’ title comes from. With spacey synth forte not unlike THE KORGIS ‘Everybody’s Got To Learn Sometime’ sitting alongside percussive brushes, it’s not quite how one would imagine THE BAND to sound but that’s the point…
The character spectrum which Stephen Hague has crafted for ‘The Lost Are Found’ is a hopeful, soothing experience that is not at all overbearing; Hague is known for placing his emphasis on vocals and by working the music around them, all the instruments have their place.
As a result, there is plenty of room for Claudia to breathe and manoeuvre. While obvious electronic references are perhaps more muted than what one would normally expect from her work, the varied organic embellishments add an enjoyable lounge dimension to Claudia’s repertoire which matures with each listen.
With thanks to Rosie Johnstone and David Lawrence at Impressive PR
ONE DOVE were a moody Glaswegian trio comprised of and Dot Allison, Ian Carmichael and Jim McKinven. Their only album ‘Morning Dove White’ took its title from the Native American name of Elvis Presley’s grandmother.
McKinven was best known for his stint in ALTERED IMAGES during their ‘Happy Birthday’ and ‘Pinky Blue’ period. This project couldn’t have been more different, especially when compared with his former band mate Johnny McElhone who formed TEXAS with Sharleen Spiteri.
Producer Andrew Weatherall signed them to his Junior Boys Own label after hearing their independently released single ‘Fallen’ and became involved in the recording process, along with Gary Burns and Jagz Kooner from SABRES OF PARADISE who both later went on to form THE ALOOF.
Seasoned by the icy but angelic voice of Dot Allison, ‘Morning Dove White’ was something truly unique in the sphere of post-Acid House electronic dance music.
Dot Allison’s resigned opening line on ‘Fallen’ of “I don’t know why I’m telling you any of this…” was simply seductive. The accompanying groovy rhythm section on a slight off-beat made it the most club flavoured track on here with the reggae-inflections of LEFTFIELD’s ‘Release The Pressure’ as its backdrop.
Although often referred to as a dance act, ONE DOVE’s sound was actually characterised by primarily electronic textures with heavy processing influenced by laid back Jamaican dub and Eno-esque ambience. This recalled the work of former PUBLIC IMAGE LIMITED bassist Jah Wobble who incidentally guested on ‘Morning Dove White’ and later recorded an album with Brian Eno called ‘Spinner’.
The single versions of ‘Breakdown’ and ‘White Love’ mixed by Stephen Hague were actually quite brilliant, accessible and are far less intimidating than the full-on dub attack of the lengthy album cuts. But even as radio mixes, they were hardly the glossy pop of SAINT ETIENNE.
London Records had taken over the Junior Boys Own label and wanted to make ONE DOVE’s music more radio friendly. The band may have been unhappy about the commercialisation of their sound and there is something to be said about fighting for your art, but what is the point if people can’t access your work through conventional media and grow into it, especially if it is relatively radical? In hindsight, London Records were being well intentioned, but this led to a dispute which delayed the release ‘Morning Dove White’ for a full year until 1993.
A compromise was reached with ONE DOVE working with Stephen Hague in the studio during the remix sessions. ‘White Love’ was wonderfully dreamy with its subtle piano and gospel salvo predating Moby’s ‘Play’ by several years. Their biggest hit ‘Breakdown’ had a surprising Van Morrison influence, taking its chorus from THEM’s ‘Here Comes The Night’. In both, Dot Allison’s sexily whispering vocals were the distinctive key.
But the album’s crowning glory was the Phil Spector in the 23rd Century mystique of the stupendous ‘Why Don’t You Take Me?’ featuring Wall Of Sound effects galore and reverbed steel drum samples, it was almost funereal but actually possessed an uplifting quality. Although there was a Stephen Hague assisted mix sans steel drums available on the single release, in this case it was Andrew Weatherall’s original vision that is won the day.
Of the supporting features on ‘Morning Dove White’, ‘There Goes The Cure’ was very ‘Twin Peaks’ in atmosphere, punctuated by Dot Allison’s chants of “he’s gone”. Constructed around some tinkling piano and deep ambient drones, its heart was suddenly invaded by Jah Wobble’s distinctive bass run before returning full circle with the aid of a dramatic percussive climax.
Both ‘Sirens’ and ‘My Friend’ recalled Weatherall’s work on PRIMAL SCREAM’s ‘Screamadelica’ while ‘Transient Truth’ was a superb instrumental with an ‘Ipcress File’ meets King Tubby twist. The echoey drum machine and the various incessantly repeated spy drama riffs provided a suitably hypnotic soundtrack.
With a promising debut album greeted by enormous praise and critical approval, a follow-up was eagerly anticipated. A reworking of Dolly Parton’s ‘Jolene’ and the song ‘Skanga’ which were included as B-sides to’ Why Don’t You Take Me?’ gave an indication of the heavier dub reggae sound that was being pursued. There was even rumours of a cover version of SIMON DUPREE & THE BIG SOUND’s ‘Kites’, the concept of which had the potential to be amazing.
But there was no second album. It was recorded but never released. Frustrated and drained by business politics, ONE DOVE disbanded in 1996.
Dot Allison went on to release a series of acclaimed solo albums including ‘Afterglow’ and ‘We Are Science’ as well as working with DEATH IN VEGAS and MASSIVE ATTACK.
‘Morning Dove White’, like THE ALOOF’s ‘Sinking’, was infinitely superior to the overrated trip-hop albums such as PORTISHEAD’s ‘Dummy’ or TRICKY’s ‘Maxinquaye’ which dominated the mellow coffee-table dance niche of the time. Some of the full on dub excursions have degrees of over-indulgence and may not be to everyone’s taste, but one of the beauties of modern digital formats is the ability to compile a version of the album to suit the mood.
It may not have been the journey that the band intended but this collection is a challenging and rewarding listen that deserves reappraisal.
The release of Claudia Brücken ‘ComBined’ in association with ZTT/Salvo presents the first career retrospective of the German chanteuse’s marvellous collection of work.
Before LADYTRON or GOLDFRAPP, it was Claudia Brücken who reigned as the original first lady of icy, feminine led Eurocentric avant-pop. As a keen collaborative artist, this compilation gathers together her various ComBinations with producers and musicians who included Trevor Horn, Stephen J Lipson, David Sylvian and the late John Uriel among many others.
Her classic PROPAGANDA tracks ‘Dr. Mabuse’, ‘Duel’ and ‘P.Machinery’ need no introduction. They still retain their Teutonic magnificence and cinematic surrealism. Together with Susanne Freytag, Michael Mertens and Ralf Dörper, the quartet are still remembered as ‘ABBA in hell’.
However, when Claudia formed ACT with Thomas Leer in 1987, there came a more playful, decadent glamour with political flirtations. ‘Snobbery & Decay’ was a warning about the effects of the Thatcher government while ‘Absolutely Immune’ was a commentary on the apathy of the nation at large with its “I’m alright Jack” selfishness.
Unfortunately, with the sentiment lost on a British public still drowned in blue emotion, the technological and theatrical marvels on the parent album ‘Laughter, Tears and Rage’ in 1988 were sadly unable to gain a foothold in a landscape dominated by the bland mid-Atlantic blue eyed soul and FM AOR that had become the requisites for the then brand new CD format!
Alas, ACT did not continue and Claudia signed a deal with Island Records for her 1991 album ‘Love: And A Million Other Things’. The wonderful ‘Kiss Like Ether’ recalls the rhythmical template of JON & VANGELIS’ ‘State Of Independence’ while her debut solo single ‘Absolut(E)’ is very Pascal Gabriel, the production dominated by his electronic dancefloor vibes. The reaction to the album was strangely muted and Claudia took a career break to bring up her daughter Maddy, emerging only occasionally to record the odd guest vocal.
Photo by Hege Saebjornsen
One of those included on ‘ComBined’ is ‘Light The Way’ with CHROME SEDUCTION, a percussively frantic club number that also saw the return of one of her former partners-in-crime Susanne Freytag. After an aborted reunion of PROPAGANDA in the latter half of the 90s, she accepted an invitation in 2000 to join OMD’s Paul Humphreys’ tour of the USA; one of the first recorded fruits of their partnership was a cover of ‘This Is Not America’ featuring FRANKIE GOES TO HOLLYWOOD’s Paul Rutherford. A beautifully crafted synthesized tribute to David Bowie and Pat Metheny, although recorded in 2001 and shelved, it finally sees the light of day on ‘ComBined’.
Claudia formalised her musical partnership with Paul Humphreys and together they named themselves ONETWO. Open to collaboration with others, the song ‘Cloud 9ine’, co-written and featuring DEPECHE MODE’s Martin Gore, was the stand-out on their debut EP ‘Item’ released in 2004. But it was a few years before their first album was completed.
The crisp and moody ‘Instead’ finally emerged in 2007 and is represented on ‘ComBined’ by ‘Sequentia’, a toughened up remix by Paul Humphreys of the chilling East European flavoured highlight from that album. Finding herself in demand again, Claudia also joined ERASURE’s Andy Bell to sing on two tracks for his debut solo album ‘Electric Blue’. The pair became good friends and their chemistry is particularly evident on the energetic interplay of ‘Delicious’ which sees her in full and rare poptastic glory.
‘ComBined’ also features two brand new tracks produced by Stephen Hague whose credits include OMD, PET SHOP BOYS, NEW ORDER, ERASURE, COMMUNARDS, DUBSTAR and A-HA. ‘Thank You’ is a fantastically moody epic driven by a trip-hop drum loop and swathed in Cold War atmospherics. Closer ‘Night School’ is a more uptempo, but is still classic Claudia with smooth layered textures and rich, minimal guitar melodics.
But for the bonus track encore, Claudia rejoins ZTT’s musical minimalist Andrew Poppy with whom she recorded the fascinating ‘Another Language’ covers album. The new piano accompanied rework of Roy Orbison’s ‘In Dreams’ retains the heartfelt drama of the original, but adds a slice of Weimar edginess to what has now become a rock’n’roll standard.
Yes, there are several notable absentees on the CD such as her Blank & Jones collaborations ‘Unknown Treasure’ and ‘Don’t Stop’. But the former though has been included on the iTunes version of the album in addition to PROPAGANDA’s cover of ‘Femme Fatale’ and a new ‘Geek Boy remix’ of her OCEANHEAD track ‘Eyemotion’ under the title of ‘Augenblick’.
There may be a case argued for her collaboration with HEAVEN 17’s Glenn Gregory ‘When Your Heart Runs Out of Time’, although this is now available in its full glory on ZTT’s ‘The Art Of The 12 Inch’ compilation.
Overall, this is a superlative snapshot of one of Europe’s finest talents and a perfect introduction to her varied and influential musical catalogue.
‘ComBined’ is released on DC and downalod by ZTT/Salvo on 7th February 2011
On Wednesday 2nd March 2011 at London’s Scala, Claudia Brücken & Friends will play a special concert to celebrate her career. Very special guests include HEAVEN 17’s Glenn Gregory and Martyn Ware, ERASURE’s Andy Bell, PROPAGANDA’s Susanne Freytag, Andrew Poppy and OMD’s Paul Humphreys
Paul Humphreys is one half of the legendary synthesizer duo ORCHESTRAL MANOEUVRES IN THE DARK whose 1979 debut single ‘Electricity’ has inspired the name of this website.
Together with Andy McCluskey, they set a high standard of romantic retro-futurism with lyrical gists ranging from technology and war, to deceased religious figures and long distance relationships.
Not only did his KRAFTWERK, ENO and LA DÜSSELDORF inspired keyboard textures give OMD a distinctive melodic interface within an exciting era of electronic pop as featured on classic songs like ‘Messages’, ‘Joan Of Arc’ and ‘Maid Of Orleans’, Paul Humphreys was also the voice on two of the band’s biggest hits ‘Souvenir’ and ‘(Forever) Live And Die’.
Following his departure from OMD in 1989, Paul Humphreys continued making music. First there was THE LISTENING POOL with fellow OMD refugees Malcolm Holmes and Martin Cooper who released an album ‘Still Life’ in 1994 before working with PROPAGANDA’s Claudia Brücken, initially as producer on their aborted reunion album and then in 2004 together as ONETWO. The duo received critical acclaim for their excellent debut album ‘Instead’ and played prestigious support slots with ERASURE and THE HUMAN LEAGUE in 2007.
Simultaneously rejoining Andy McCluskey, Malcolm Holmes and Martin Cooper for the live relaunch of OMD, Paul Humphreys has been a very busy man over the last three years. Not only is there now a new OMD album ‘History Of Modern’ on the horizon but he has also added DJ-ing to his repertoire of talents. In a special interview, ELECTRICITYCLUB.CO.UK was invited down to Paul Humphreys’ brand new studio in London to talk about the past, the present and the future:
You had a very busy time the last couple of years touring with both OMD and ONETWO. With ONETWO, you toured with ERASURE and THE HUMAN LEAGUE and with OMD as support to SIMPLE MINDS? How did you find being a support act and how do you think you went down with the fans of those artists?
I’ve never minded being support, we did a lot of support tours in the 80s as well. We supported DEPECHE MODE, THOMPSON TWINS, THE POWER STATION, all kinds of people in America. It gives you a chance to expand your audience. And we chose to tour with SIMPLE MINDS because we did Night Of The Proms with them a couple of years ago and it was sort of a drunken night at the bar really, their guitarist Charlie Burchill went “Hey, why don’t ya come on tour with us?” so we said “oh alright, we’ll think about it”. And we got the call and we thought, it’ll be an arena tour playing bigger venues than OMD would normally play in.
But also, it gave us a chance to expand our audience because I think there’s still a whole lot of people of our age who think “OMD, it’s going to be boring electronic stuff and they’re probably not very good live” and all of these kind of prejudices. So it gave us an opportunity to play to people who may think twice about coming to see us to kind of win them over really so that next time we go round, their word will hopefully spread. And we went down really well on that tour.
Did you and Phil Oakey have a few laughs in the bar afterwards about the old ‘OMD versus HUMAN LEAGUE’ rivalry on their 2007 Daretour?
We had some nights actually! We had some great chats, Phil is just a lovely man, I really like Phil a lot. It was fantastic to be on the ‘Dare’ tour as well. Claudia and I would just go out and watch them every night because I love that album and they’re fantastic live.
We spent a few nights in the bar till late, just talking about the early days when we started out and what it was like. He was just as surprised to discover OMD’s existence as we were with THE HUMAN LEAGUE’s. We all thought we’d discovered this new sound ourselves and we were the only ones doing it! It turned out there was quite a few bands who latched onto the electronic synthesizer route in the late 70s.
What about that time when OMD and THE HUMAN LEAGUE made their first appearances on the same edition of Top Of The Pops in May 1980? Was there any tension there?
No more tension than with the other bands. There was terrific rivalry in the 80s between the bands and I think that was a healthy thing in a way because every band was trying to outdo the other, out-write them songwise! It upped the ante with the songwriting. Everyone was trying to write the best possible songs that they could. And I think the quality of songwriting in that period was fantastic.
Photo by Achim Peter
The 30th Anniversary OMD tour in 2008 had an interesting set list featuring songs from ‘Organisation’ and ‘Dazzle Ships’ while the 2007 tour featured ‘Architecture and Morality’ in its entirety. What has it been like personally for you to revisit these classic albums?
The tour where we played ‘Architecture and Morality’ in full was particularly great for us. We just loved playing those songs and we played a few songs that we’d never played live before so it was really fantastic.It was a real challenge on that tour because we really wanted to do that album justice but we didn’t have any of the synths or anything we used to make those records. But we wanted to be true to the album.
So we had to buy synths off eBay to get those sounds back, and we then just re-sampled them. We even went back to the multi-track tapes. Anything that was a monophonic sound, I could slice up into notes, loop them and put them on each key so I could play the sound exactly how it was. It was great, great fun. I loved doing that and it was a really lovely moment.
I think ‘Architecture and Morality’ was a complete album, it was just so whole. The sound of it was unique, every song… it wasn’t a bitty album. A few of our albums are bitty but that was where we finally found a sound that was OMD. I think the first two albums were leading to ‘Architecture and Morality’. We were refining our sound and then we found it.
Was the selection of songs from ‘Organisation’ and ‘Dazzle Ships’ for the 2008 tour quite natural?
We just played our favourites really! Because when you’re playing these songs every night, you have to enjoy it. You have to want to play these songs so you pick the songs you want to play.
But you must be keen to get stuck into some new material now. How is it all coming along for the new OMD album The History Of Modern?
It’s coming along really well actually. I spent a few weeks up at Andy’s studio in Liverpool and I’ve been bringing stuff down here and working on it. We’re sending files using YouSendIt to each other. I have a play on it, he has a play on it! We just go back and forth but the album will be slightly more weighted with some of Andy’s songs because he did a lot of writing while I did the ONETWO album.
And last year for various reasons, I couldn’t do much writing. My mum died and I had a few things going on that kept me from writing. So Andy’s a bit further ahead with the songwriting but he’s done some really good things. And I’ve been taking some of his things that he’s already written and styling them.
How would you describe the sound of the album, if you can?
Electronic! Very electronic!
Photo by Hege Saebjornsen
How have you been dividing your time between working with OMD and Claudia Brücken as ONETWO? Are there any other new projects on the horizon?
I’ve been working with the best selling author Douglas Coupland who wrote ‘Generation X’. We’ve written a couple of things together for use in film, television and advertising stuff. One piece we’ve written together is entitled ‘Math is Hard’, and wouldn’t sound at all out of place on ‘Dazzle Ships’!
I’ve been working with Claudia but she’s been rather busy working with several other artists/producers. She’s been working with Stephen Hague on a project, two songs from which will be featured on a forthcoming Claudia Brücken ‘Best of’ album scheduled for release in September. I’ve been doing some remixes for it as well. Claudia has done so many projects over the years and worked with such a variety of artists/producers that it’ll be great to have her best works all on one record. And, we’ve made a start on the new ONETWO album also. So yes, very busy!
Philip Larsen from production duo THE MANHATTAN CLIQUE is a member of the ONETWO live band. You once mentioned how important he was in helping to shape the ONETWO sound. How did he influence this?
Philip gives this edge and energy that we’d like to capture with the new stuff. We wished we’d re-recorded the album with Phil and James Watson, our live guitarist because they brought an energy to our live thing that wasn’t quite on the record. They’re really going to be involved in the next record.
I do really like MANHATTAN CLIQUE remixes, especially ‘Home (Tonight)’ and MOBY’s ‘Slipping Away/Crier La Vie’. They get the beat right and make it danceable but they don’t lose the song which is often the problem with a lot of modern dance remixes.
Philip loves songs so he tries to get as much of the song in there as he can. I really love the remix that he did for ‘Home (Tonight)’ because he took the song to a different place.
Are there any other musicians/producers you’d like to work with?
I’m always interested in collaborating with other writers, not necessarily producers anymore. After 30 years, I kind of know what I’m doing!
How surprised have you been by the number of young ladies who have embraced the synthesizer recently like LA ROUX, LITTLE BOOTS, LADYHAWKE and LADY GAGA and the whole electronic pop ‘revival’? Are there any of the new acts that you like, or don’t like?
It’s not that I don’t like them. I think some are more genuine than others.
Andy told me he doesn’t get LA ROUX!
LA ROUX do have some songs that I like, but I’m a bit suspicious that it’s just more marketing than substance, but I do hope I’m proved wrong. I’m concerned that a portion of the electronic music made these days is more electronic music by numbers. Theoretical, rather than from the heart. It’s great that she’s quite flamboyant and it’s good to have flamboyant pop stars out there because there’s very few these days, everyone is so safe, so I do like that aspect of her.
Any opinions on the others?
They’re not on my iPod any of them! *laughs*
What did you think of GOLDFRAPP’s new single ‘Rocket’?
I’ve always liked quite a number of GOLDFRAPP’s songs, but I don’t get the new album to be honest. It’s like an exercise in how to make an 80s song. What’s exactly is the point? It’s obvious that it was a conscious decision to make an 80’s album, and smacks of jumping onto the 80’s revival bandwagon a little too enthusiastically. The thing I find about GOLDFRAPP is, she/they are musical genre chameleons. I mean what/who is the real GOLDFRAPP? it’s hard to tell if you jump around stylistically so much.
BBC6 Music arranged for LITTLE BOOTS to do a live session with GARY NUMAN and LA ROUX with HEAVEN 17. Which new act you would like to collaborate with, either as ONETWO or OMD?
There are a few new acts I’d love to do things with. I’m a huge fan of ARCADE FIRE, I think they’re fantastic. And I like THE POSTAL SERVICE, they’re a great band. I also recently discovered HANNAH PEEL. I heard a COCTEAU TWINS cover ‘Sugar Hiccup’ on the radio on my way home in the car from my studio recently and loved it, I got home and bought it straight away from iTunes only to discover the second song on the EP was none other than a cover version of ‘Electricity’!!
You recently contributed to BBC4’s Synth Britannia documentary. How did you think the programme turned out and what do you think has been OMD’s long lasting contribution to modern electronic music?
I thought Synth Britannia was great and I’ve had so much positive feedback on it. It was a really well put together documentary. And I think it really captured the essence of what IT was all about and there’s been very few documentaries that have done that. So it’s great that it’s actually out there now someone’s actually done it. And it was flattering to be involved in it.
As regards contribution to popular music? I don’t know if it’s for us to say. I think we’ve definitely made a contribution, there’s no doubt about it. I think we were involved in a movement that changed pop music.
Well, ‘Enola Gay’ gets played at French wedding receptions!
YES! RESULT! *laughs*
A lot of kids seem to know ‘If You Leave’ because of ‘Pretty In Pink’ being on TV and DVD but don’t know it’s OMD.
The song’s been covered to death by American bands and ended up in all kinds of TV series. We get requests for it all the time to be redone for TV shows…
… it keeps the bailiffs away!
Exactly!! *laughs*
Quite a number of the acts in the Synth Britannia documentary are playing live again like ULTRAVOX or have been revisiting their classic albums as OMD did like GARY NUMAN, THE HUMAN LEAGUE and HEAVEN 17. How do you think everyone shapes up with their live shows?
I think the bands that have gone out have been worthy. I think there are a few that shouldn’t be going out… I don’t think I should name them but there’s some who really shouldn’t be doing it!
Bands of our generation like HEAVEN 17 and THE HUMAN LEAGUE are playing to big audiences. THE HUMAN LEAGUE are fantastic! ERASURE are still doing it and doing good. So the criteria is, can you still deliver? A lot of these artists; they haven’t forgotten how to sing, they haven’t lost their voices. In fact, some sing better now than they ever did. But after 30 years, you learn how to play as well. When we started out, we weren’t such great musicians but we’ve all become better musicians. And I think OMD play better now than we ever used to, there’s less mistakes in our set because we’re far more confident in what we’re doing!
But one thing I notice HEAVEN 17’s Glenn Gregory still does after all this time though is he still misses his cues!!
Oh he does, yeah! That gig in Sheffield, he missed a couple!! But he was moaning to me because ‘Penthouse and Pavement’ is so wordy. That’s the one thing that we all suffer from, Andy suffers from it too and so many singers do… you just forget your words!! It’s an age thing! It can become a head thing as well!
We’ve all got our cheat sheets to remind us on stage now. Claudia’s developed this technique where she’s got a book on the floor with all the lyrics printed bold in plastic and she flips the page with her foot and she looks like she’s dancing! *laughs*
But so many people have autocues, it’s just what happens. Trying to remember the lyrics for a one hour 45 minute show is a lot of lyrics to remember.
You had concerns about how music was being distributed over the internet in 2000. How do you see the future for musicians now in being able to make a living from their music? Is the physical format really on its last legs and therefore the future is in live performance, or soundtracks in computer games and films?
Yes, I think sadly the latter because the music industry has totally imploded! Some of it was its own fault in the corporate industry because it’s like a slow moving dinosaur. They should have latched onto the internet a lot earlier to sell music before this culture started of music for free. If they’d had done that and had reduced the prices, they would have created the culture of people just switching from buying music in shops to buying online.
But there was this whole limbo period that bred a generation of people downloading for free because some of the stuff just wasn’t even available. And kids grow up with that. They grow up thinking their entertainment should largely be free, particularly music. It’s been hugely frustrating because the internet is a fantastic place but it’s contributed to taking billions out of the industry which has brought it to its knees.
Your daughter must be of that generation?
Well, she’s been educated by me! So she’s knows and spreads the word with all her friends and frowns upon those who are downloading like mad!
Do you think with the internet that the word-of-mouth thing might work more now and we can by-pass the middle men in the record companies?
Yeah, that’s happening now. It’s not all negative at all but the whole culture of music’s completely changed. In the 80s you would tour, ticket prices were low and you would probably lose money but you would be promoting your record because that’s where the money was. But now bands put out a record, knowing they’re not going to make much money, as an excuse to go out on the road and they’ve put the ticket prices through the roof and make the money that way.
For bands like us that have made a name, the internet is an easy place because you’re a searchable commodity for a better phrase. There are people searching for OMD and there will be links to see what we’re doing individually. We’re all over the net because we were known. But for interesting artists starting out who need a kick start to make people search for what they’re doing, it’s a really difficult thing now. It takes money to do that.
So the worry is, artists in the future will be just stifled. You take the funding away from the arts, quality drops because people can’t do it full-time. Musicians have mortgages too and they’ve got kids that need new shoes and you’ve got to find that money from somewhere. If you can’t make it from music, then music is a hobby and you need that funding from somewhere to do it full-time.
But it’s really frustrating that people don’t see free download as stealing. I’d love to walk into Waitrose and help myself to some of the stuff on the shelves and walk out but I’d get arrested! But for some reason, music is not viewed that way. At some point, people are going to turn round and say “where’s all the good music?” but they’ve contributed to it. Fortunately, there are still good bands around and there’s still some great songs to be found but it’s getting really hard to find them.
There’s no money in the labels because there’s no money in selling records; so there’s no investment in new artists. There are some artists now that are really successful who wouldn’t have existed in this climate because they needed investment to develop them like being put together with interesting producers who helped develop their sound. We learnt so much from the early producers we worked with like Mike Howlett.
Photo by Eric Watson
So who’s your favourite producer that’s worked with OMD?
Mike Howlett, he really taught us how to refine our sound cos it was quite raw. The edginess was good but we needed tweaking to make us palatable to the masses.
Stephen Hague taught us how to arrange songs, we learnt so much about arrangement from him.
Tom Lord-Alge; we learnt so much from him.
Stephen Hague is one of my favourite producers but I often thought OMD worked with him too early. What I mean by that is he was only just starting out as a producer in his own right when he worked on ‘Crush’. It was almost like he was learning his craft working with OMD and then he had it sorted out when he worked with PET SHOP BOYS, ERASURE, JIMMY SOMMERVILLE and NEW ORDER. I don’t know if you’ve ever felt that?
We heard that Malcolm McLaren track ‘Madam Butterfly’ which he worked on and we just adored that. I don’t want to knock him because we did some really good things with him. But he fundamentally changed our sound at perhaps the wrong time. I think you’re right. It happened at a time when… it helped us in a way to break America cos that’s what we’d tried to do for years and Steve was instrumental in that. He refined our sound and in some ways made us less electronic.
Although the irony of course is he’s now best known for being an electropop producer…
Yeah, that’s right, it is the irony! He did make us less electronic which made us more palatable to America.
And then PET SHOP BOYS go and have an American No1 with ‘West End Girls’ produced by him and it’s quite electronic!!
I KNOW!! It’s weird!
You recently performed your first DJ set at HEAVEN 17’s aftershow party in Sheffield. How did it come about?
I think it might be my first and last!! *laughs*
It went really well actually, it was really good fun. It was Glenn Gregory’s idea. I know Glenn really well and see him socially from time to time. Claudia and Glenn have been best mates for years so Glenn said “how d’ya fancy DJ-ing?” cos I told him I was to going to come up to see the Penthouse and Pavement show anyway as Claudia was singing with them. And he said “whilst you’re up here, why don’t you DJ in the VIP room” and I was like “I’ve never DJ-ed in my life so forget it”! BUT, he announces it on the HEAVEN 17 website and I’m thinking “YOU ****!”*laughs*!!
So I’m doing it now! And I couldn’t get out of it. So do you want to know what I played?
Yes please…
ANDAIN Beautiful Things
KRAFTWERK Aero Dynamik [Hot Chip remix]
DEPECHE MODE vs BOOKA SHADE Enjoy The Silence In White Rooms
OMD vs LORRAINE I Feel Messages
SAM TAYLOR-WOOD & PET SHOP BOYS German Film Star [Gui Boratto remix]
GOLDFRAPP Strict Machine [Ewan Pearson remix]
ONETWO Home (Tonight) [MHC remix]
Was DJ-ing as difficult as you thought? Or was it quite easy, literally switching songs on and off?
I found a great piece of software so I cheated in a way cos this software is brilliant. You can play a song, bring in the next one and if you hit synch, it just locks it up! I just kept dropping things in and it’s got great effects on it as well to make fills etc. It’s kinda fun to do, I did enjoy it.
Which is your favourite synth, the one that you have the fondest memories of?
Synths have been my love so pretty much every synth I’ve owned has got something good about it.
I have fond memories of the Korg Micro-Preset because that was our first synth we ever got and we got two really great albums out of that one synth. What’s great about it is that it’s really limited, so your options are really narrow. And sometimes that’s really good in songwriting because you can have synths with a billion sounds and you spend your day going “I wonder if there’s a better sound”.
You lose sight of what you’re doing. Whereas the limited synths are great because they may only have a few sounds so you end up concentrating on the part rather than the sound. With this synth we just bathed it in reverb because it sounds sh*t on its own.
I just re-bought the Roland Jupiter8 as a virtual synth. The original was a staple synth for OMD that got us through ‘Junk Culture’ and ‘Crush’. It was a brilliant synth and even though it’s quite complicated, I learnt how to programme it completely. So it’s one of those synths where if I think of a sound, I can programme it. There’s very few synths I can do that.
The Prophet5 is the other one where I can imagine a sound and build it myself. I can programme it inside out. Those two synths are still my favourites.
Photo by Brian Griffin
Is there a synth you actually never owned but wish you did?
I’ve never owned a Minimoog which is funny isn’t it? I got this Minimoog module here, it’s the guts of one but it’s not quite the same. It is a Moog, all the electronics are the same but it’s not the Moog with the keyboard. There was something really sexy about the Moog with the keyboard and the back tilted up.
What about a synth you bought and didn’t use because it sounded rubbish!
A Wasp! It looks fabulous but I could never get it to work in a song. It had this touch keyboard which was a bit annoying, not very pleasant to play really. I just never really liked it!
How do you feel about the concept of deluxe edition albums with extra packaging and tracks? Is it the best way to go to market to fans?
There’s pluses and minuses to this. I think you have to use some of these tricks to get people to buy CDs because I still believe in the CD format. It sounds a hell of a lot better than MP3 and people are buying the whole album. It’s good to do tricks with iTunes to make people buy the whole album. People are doing certain tracks now that you can only get if you buy the whole album. The one thing that iTunes is doing is killing the album. People are cherry picking based on a 30 second snippet.
Call me a traditionalist, I used to love buying an album and I’d put it on. I’ve always found when you listen to an album all the way through, the band selected these songs to take you on a journey. And you are belittling their vision by just cherry picking songs. I always found, even with people like David Bowie that sometimes I’d put an album on and you’d go “that song’s s***, I hate that song” but you just leave it on anyway. And by the third listen, it becomes your favourite song! It’s the obscure track on the album you wouldn’t cherry pick. And I think people are missing out on that experience.
So what are your favourite albums of all time?
Bugger me, that’s a tough one! I can definitely tell you some of my favourite albums:
KRAFTWERK ‘Radio-Activity’
DAVID BOWIE ‘Heroes’
BRIAN ENO ‘Before and After Science’
DAVID BOWIE ‘Low’
LA DÜSSELDORF ‘La Düsseldorf’
NEU! 75
ROXY MUSIC ‘Roxy Music’
JOY DIVISION ‘Closer’
TALK TALK ‘It’s My Life’
ARCADE FIRE ‘Funeral’
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and later recorded an album with Brian Eno called ‘Spinner’.
is released on DC and downalod by ZTT/Salvo on 7th February 2011
is due for release in 2010
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