Tag: The Metronomes

The Electronic Legacy of VARIOUS ARTISTS

2 August 2020 /

So come on, whose first album was a various artists compilation?

They were the biggest sellers for a decade and had dominated the UK album charts so much so that they were given their own!

In 1966, the Canadian budget household gadget firm K-Tel diversified into the territory of compilation albums with ‘25 Country Hits’; it was a surprise success and this comparatively new idea of collecting a number of artists onto an album based around a single theme was expanded further.

K-Tel negotiated directly with artists and labels for the rights to reproduce the original recordings, but where this was not possible, the company would contract “one or more of the original artists” to make a new recording for the compilation, under the premise that the public generally could not tell the difference between a re-recording and the original.

However, UK budget label Pickwick Records via their Hallmark imprint went one step further in 1968 by producing compilations of the latest hits but as rush-recorded soundalike cover versions under the title ‘Top Of The Pops’ which had nothing to do whatsoever with the BBC TV show; it was all perfectly legal thanks to an oversight by the corporation on trademark.

Purchasers unknowingly got treated to unique interpretations of ‘Autobahn’ and ‘The Model’ by anonymous session musicians who quite obviously had only learnt the song ten minutes before entering the studio. Although demand for such records had dimmed by 1981, acts such as SOFT CELL were still unable to escape with ‘Say Hello Wave Goodbye’ hilariously reduced to geezer pub rock! The singer was revealed to be one Martin Jay who a few years earlier had treated the world to his cloak and dagger take on ‘Are Friends Electric?’.

The albums from K-Tel attempted to cram as many songs as possible onto the 12 inch vinyl format. In order to accommodate this philosophy within its physical limitations, many of the tracks were faded out early or came in unusual and often clumsy edits. But even these versions were sought after by loyal fans, thus making the records they came from valued collector’s items.

The various artists compilation album changed forever in 1983 when Virgin and EMI joined forces to produce the ‘Now That’s What I Call Music’ series which at the last count had reached ‘Now 106’ and spawned numerous spin-offs and even cable TV channels. In 1984, Sony BMG and Warner Music joined in the action with the ‘Hits’ series, but such was the domination in the UK of these types of albums that in 1989, they were given their own chart and excluded from the main one!

For electronic pop, ‘Machines’ released by Virgin Records in 1980 was one of the first attempts to gather music using synthesizers into one place, but the entry point for many new fans was 1981’s ‘Modern Dance’ on K-Tel. This well-thought out collection saw youngsters saving up their pocket money for their first record purchase or asking Santa to put it into their Christmas stocking, thanks to Radio1 DJ Peter Powell declaring that ‘Modern Dance’ was “The best of total danceability, the sounds of modern dance, on one LP!”.

As with greatest hits albums, what makes a great various artists compilation is a seamless listening experience where possible, or at least more killer than filler. However the continuous DJ mix was a particular irritant running through compilations for a period and rarely worked with classic material or recordings not specifically aimed at the clubland.

Staying within theme on a compilation though is VERY important and straying just slightly can spoil a whole concept, especially if it has been outlined in the title. Soul Jazz Records’ lushly packaged ‘Deutsche Elektronische Musik’ sets over two volumes contained a wide range of freeform experimental works from Germany, but occasionally forgot about the Trade Descriptions Act implications of its title. Meanwhile, ‘Reward’ by post-punk trip-poppers THE TEARDROP EXPLODES had a regular place on collections such as ‘Club For Heroes’, ‘New Romantic Classics’, ‘It’s Electric’ and ‘Our Friends Electric’ despite being brass dominated.

But the nadir came with ‘Synth Pop’, a 3CD collection by Sony Music in 2015 which totally missed the point by featuring AZTEC CAMERA and HAIRCUT 100!??! Now while the inclusion of IMAGINATION’s ‘Body Talk’ with its iconic Moog bassline could be justified, the set highlighted just how much the modern day definition of “synth pop” had become particularly blurred…

Although some listeners just want endless hits on various artists compilations, others want to be informed and introduced to some lesser-known or rare songs. However, this latter approach can meet with mixed results.

For example, Cherry Red’s ‘Close To The Noise Floor’ and the Trevor Jackson’s ‘Metal Dance’ series were historically fascinating, but not always easy collections to listen to in one sitting. With some of the music close to being unlistenable, it could be akin to studying a hefty text book… highly educational but not always entirely fun!

So ELECTRICITYCLUB.CO.UK takes a personal look at the electronic legacy of various artists via 20 notable compilation albums, each with valid reasons for their inclusion, presented in yearly and then alphabetical order within. Yes, several songs reoccur over a number of these releases, but perhaps that is more an indication of their timeless nature. These were tunes that were dismissed by the press and wider public back in the day, but are now considered classic and part of the cultural heritage.

MACHINES (1980)

Having seen the future and signed THE HUMAN LEAGUE as well as OMD through their Dindisc subsidiary, Virgin Records issued a long playing showcase of acts that used synthesizers as their primary instrumentation. Among the outsiders were TUBEWAY ARMY, FAD GADGET, SILICON TEENS and DALEK I LOVE YOU. XTC’s B-side ‘The Somnambulist’ appeared to be incongruous, but was from their synth experimentation period.

‘Machines’ was released by Virgin Records

https://www.discogs.com/Various-Machines/master/59149

METHODS OF DANCE (1981)

This compilation been the idea of David Sylvian, hence why it was named after the JAPAN song although their contribution would be ‘The Art Of Parties’. Virgin presented their embarrassment of riches including BEF, DEVO, DAF, SIMPLE MINDS and MAGAZINE while the primary selling point was a special dub edit of THE HUMAN LEAGUE’s ‘Do Or Die’ as a trailer to ‘Love & Dancing’. The cassette had more tracks including John Foxx and the actual undanceable ‘Methods Of Dance’ song!

‘Methods Of Dance’ was released by Virgin Records

https://www.discogs.com/Various-Methods-Of-Dance/master/43926

MODERN DANCE (1981)

1981 was when the sound of electronic pop was virtually everywhere, so ‘Modern Dance’ was perfect synthchronicity. Featuring the stellar cast of OMD, THE HUMAN LEAGUE, HEAVEN 17, JAPAN, DEPECHE MODE, SIMPLE MINDS, VISAGE, LANDSCAPE, FASHION and THE CURE as well as John Foxx and Gary Numan, an indicator of how supreme this compilation was came with the fact that its most obscure track ‘A World Without Love’ by THE NEWS was rather good!

‘Modern Dance’ was released by K-Tel Records

https://www.discogs.com/Various-Modern-Dance/release/504872

SOME BIZZARE ALBUM (1981)

Stevo Pearce’s compendium of new Futurist acts has gone into folklore, having launched the careers of DEPECHE MODE, SOFT CELL, BLANCMANGE, THE THE and B-MOVIE. Several of acts who didn’t make it were also superb. THE FAST SET’s cover of Marc Bolan’s ‘King Of The Rumbling Spires’ was enjoyable electro-macabre while the rousing ‘Tidal Flow’ by ILLUSTRATION is one of the great lost songs of the era.

‘Some Bizzare Album’ was released by Some Bizzare

https://www.discogs.com/Various-Some-Bizzare-Album/master/2754

CLUB FOR HEROES (1992)

It took a few years to realise just how good the music from the New Romantic era was. This compilation was named after one of Steve Strange and Rusty Egan’s club nights. Featuring DURAN DURAN, SPANDAU BALLET, ULTRAVOX, VISAGE, SOFT CELL and JAPAN, others who also got into the party were YAZOO, ABC, TALK TALK and CLASSIX NOUVEAUX while most welcome were ICEHOUSE with their eponymous single.

‘Club For Heroes’ was released by Telstar Records

https://www.discogs.com/Various-Club-For-Heroes/master/120444

IT’S ELECTRIC (1994)

Gathering “Classic Hits From An Electric Era” including the full length ‘Blue Monday’ from NEW ORDER, ‘It’s Electric’ was largely, a more purist synth collection than ‘Club For Heroes’. Alongside the usual suspects were A FLOCK OF SEAGULLS, TEARS FOR FEARS, BRONSKI BEAT, KRAFTWERK, EURYTHMICS, BRONSKI BEAT and ERASURE. However, this collection featured the album version of ‘Tainted Love’ instead of the single, a mistake that would be repeated again and again.

‘It’s Electric’ was released by Dino Entertainment

https://www.discogs.com/Various-Its-Electric-Classic-Hits-From-An-Electric-Era/master/37974

DAWN OF ELECTRONICA (2000)

Celebrating “a music synonymous with futurism”, ‘Dawn Of Electronica’ included the album version of ‘From Here To Eternity’ by Giorgio Moroder and the Some Bizzare version of ‘Remembrance Day’ by B-MOVIE. With the likes of DAF, SUICIDE, ASSOCIATES, CABARET VOLTAIRE, PROPAGANDA, THE ART OF NOISE and YELLO alongside TUBEWAY ARMY, ULTRAVOX, JAPAN and SOFT CELL, this compilation was something a bit different to what had come before.

‘Dawn Of Electronica’ was released by Demon Music Group

https://www.discogs.com/Various-Dawn-Of-Electronica-Uncut/release/577680

ELECTRIC DREAMS (2002)

Like ‘Teenage Kicks’ for punk and new wave, there are far too many compilations named ‘Electric Dreams’. This 2CD affair from Virgin Records comprised of 38 “synth pop classics”. This was a compilation combining trailblazing analogue electro and the advent of digital sampling that actually worked. From ‘The Model’ and ‘Electricity’ to ‘Relax’ and ‘19’, with ‘We Are Glass’, ‘Yellow Pearl’, ‘Say Hello Wave Goodbye’ and ‘Absolute’ in between, this was one of the best releases of its type.

‘Electric Dreams’ was released by Virgin Records

https://www.discogs.com/Various-Electric-Dreams/release/322736

THIS IS HARDCORE (2002)

God Made Me Hardcore was a label set-up by Andy Chatterley and Richard Norris for electroclash tracks they had involvement in. ‘This Is Hardcore’ included some striking covers; THE DROYDS and MOON UNIT contributed SQUEEZE’s ‘Take Me I’m Yours’ and DEVO’s ‘Whip It’ respectively, while there was also a brilliant posh boy mash-up ‘Assault On The West End Girls’ by MUGATU. Siobhan Fahey of SHAKESPEAR’S SISTER and Irish combo RIVIERA also featured.

‘This Is Hardcore’ was released by God Made Me Hardcore

https://www.discogs.com/release/289143-Various-This-Is-Hardcore

THIS IS NOT THE 80s (2002)

Subtitled “A Nu-Wave Electro Compilation”, this brought out the electro in Electroclash with gloriously klanky drum machines in abundance. The undoubted star was Miss Kittin with four tracks including the mighty scene anthem ‘You & Us’ with Michael Amato aka THE HACKER; meanwhile the man himself and Anthony Rother each had three contributions. FPU, DOPPLEREFFEKT and ADULT. were among those bringing the sound of electronic pop into the 21st Century.

‘This Is Not The 80s’ was released by Incredible / Sony Music

https://www.discogs.com/Various-This-Is-Not-The-80s-A-Nu-Wave-Electro-Compilation/master/375573

THIS IS TECH-POP (2002)

Compiled by Ministry Of Sound, ‘This Is Tech-Pop’ was a representative snapshot of the start of the 21st Century, although “Tech-Pop or Electroclash or Synth-Core or Neu-Electro” legend highlighted dance music’s daft obsession with categorisation. The music from LADYTRON, FISCHERSPOONER, TIGA & ZYNTHERIUS, FC KAHUNA, WALDORF, SOVIET, FELIX DA HOUSECAT and GREEN VELVET was excellent but DJ mixing the tracks together clouded the listening experience.

‘This Is Tech-Pop’ was released by Ministry Of Sound

https://www.discogs.com/Various-This-Is-Tech-Pop/release/50649

ELECTRICITY 2 An Electronic Pop Sampler (2003)

‘Electricity 2’ came at a time when the only platform for UK and Irish synth acts seemed to be Ninthwave Records in the USA. It featured HEAVEN 17’s first new song for six years in ‘Hands Up To Heaven’ as well as material by WHITE TOWN, SPRAY and EMPIRE STATE HUMAN. Highlights included ‘The Machines’ by MASQ which sounded like a bizarre Gaelic synthpop take on Gary Numan and the comical ‘Alan Cumming’ by TURD FERGUSON which sent up MISS KITTIN & THE HACKER.

‘Electricity 2’ was released by Ninthwave Records

https://www.discogs.com/Various-Electricity-2-An-Electronic-Pop-Sampler/release/730718

ROBOPOP Volume 1 (2003)

Compiled by Wayne Clements of Essex duo MACONDO, ‘Robopop’ was possibly the closest thing to the ‘Some Bizzare Album’ in the 21st Century. Heading the line-up were CLIENT and MY ROBOT FRIEND while Mute stalwarts KOMPUTER contributed ‘My Private Train’. The stand-outs though were machine funksters ALPINE STARS, irreverent retro-poppers BAXENDALE and VIC TWENTY featuring Piney Gir with a delicious synth cover of Lynsey de Paul’s ‘Sugar Me’.

‘Robopop Volume 1’ was released by Lucky Pierre Recordings

https://www.discogs.com/Various-Robopop-Volume-I/release/296881

RETRO:ACTIVE 5 (2006)

Compiled by Alex Hush, now of U2 and ERASURE remixers DAYBREAKERS, ‘Retro:Active 5’ gathered 12 classic 12 inch extended versions into a listenable programme. A-HA and THE PSYCHEDLIC FURS led the way with BLANCMANGE and DEAD OR ALIVE in support, but the biggest selling points were the ultra-rare ‘Love Cascade’ from LEISURE PROCESS and ‘More To Lose’ by SEONA DANCING, the duo fronted by Ricky Gervais.

‘Retro:Active 5’ was released by Hi-Bias Records

https://www.discogs.com/Various-RetroActive5-Rare-Remixed/release/719639

ROBOPOP The Return (2006)

For ‘Robopop The Return’, Wayne Clements was joined by production duo MANHATTAN CLIQUE. Described as “Essential Electro Pop”, it was a much higher profile release than its predecessor with GOLDFRAPP, THE KNIFE, TIGA and DRAGONETTE all on board. Also present were THE MODERN relaunching as MATINEE CLUB while HUSKI, FORMATIC, LORRAINE and SOHO DOLLS were among the worthy lesser-known inclusions.

‘Robopop – The Return’ was released by Planet Clique / Lucky Pierre

https://www.discogs.com/Various-Manhattan-Clique-Robopop-The-Return/release/1410368

CHILLTRONICA A Definition No1 (2008)

A downtempo compilation by BLANK & JONES, the most exquisite tracks featured female vocalists with Sarah Nixey just pipping the highlight honours on her cover of JAPAN’s ‘Ghosts’ with INFANTJOY over Claudia Brücken on the hosting DJ duo’s ‘Don’t Stop’. Meanwhile, ‘Ghost Trains’ by Erlend Øye was a livelier number that worked alongside chilled out tracks by THE GRID, BLISS, MARCONI UNION, SPOOKY and DEPECHE MODE.

‘Chilltronica – A Definition No1’ was released by Soundcolours

https://www.discogs.com/Blank-Jones-Chilltronica-A-Definition-No1/release/1714901

ELECTRI_CITY 1_2 Elektronische Musik Aus Düsseldorf (2016)

Tying in with the book about Düsseldorf’s music heritage, ‘ELECTRI_CITY 1_2’ gathered the more accessible elements of Deutsche Elektronische Musik, Kosmische and Neue Deutsche Welle. With RIECHMANN, DER PLAN, DIE KRUPPS, RHEINGOLD, DAF, LIAISONS DANGEREUSES, LA DÜSSELDORF, NEU! and pre-PROPAGANDA girl group TOPLINOS, this two volume collection was like a journey of discovery with the benefit of a local tour guide.

‘ELECTRI_CITY 1_2 – Elektronische Musik Aus Düsseldorf’ was released by Grönland Records

https://www.discogs.com/Various-ELECTRI_CITY-1_2/release/8919263

NEW ORDER Presents Be Music (2017)

Be Music was the moniker which NEW ORDER used to cover studio production work by all four members of the band. This boxed set gathered these varied recordings which involved them, with notable solo tracks from Marcel King, Paul Haig and Winston Tong alongside those of 52ND STREET, SECTION 25, THE BEAT CLUB, SHARK VEGAS and AD INFINITUM’s cover of ‘Telstar’ which many believed was NEW ORDER in disguise but actually only featured Peter Hook.

‘NEW ORDER Presents Be Music’ was released by Factory Benelux

https://www.factorybenelux.com/new_order_presents_be_music_fbn60.html

ELECTRICAL LANGUAGE Independent British Synth Pop 78-84 (2019)

The 4CD ‘Electrical Language – Independent British Synth Pop 78-84’ did as it said on the tin and with a far more accessible template, was all the better for it. With THE HUMAN LEAGUE, OMD, THE NORMAL and FAD GADGET included to draw in the more cautious consumer, purchasers were treated to a plethora of wonderful lesser known acts like FIAT LUX, BOX OF TOYS, LORI & THE CHAMELEONS, PASSION POLKA, TESTCARD F, EDDIE & SUNSHINE and JUPITER RED. Meanwhile, the best novelty item was a Schaffel driven cover of Alvin Stardust’s ‘My Coo Ca Choo’ by BEASTS IN CAGES; half of the band went on to form HARD CORPS!

‘Electrical Language – Independent British Synth Pop 78-84’ was released by Cherry Red Records

https://www.cherryred.co.uk/product/electrical-language-independent-british-synth-pop-78-84-various-artists-4cd-48pp-bookpack/

THE TEARS OF TECHNOLOGY (2020)

Compiled by Pete Wiggs and Bob Stanley of SAINT ETIENNE, ‘The Tears Of Technology’ gathered a heartfelt suite of music. OMD’s ‘Sealand’ sat alongside synthy diversions by THE TEARDROP EXPLODES and THE PALE FOUNTAINS, with the Merseyside connection extended to CARE and CHINA CRISIS. Scotland got also got a look in with Paul Haig and Thomas Leer. The rare ‘Direct Lines’ by Chris Payne’s ELECTRONIC CIRCUS found itself a place too.

‘The Tears Of Technology’ was released by Ace Records

https://acerecords.co.uk/bob-stanley-pete-wiggs-present-the-tears-of-technology-1

Text by Chi Ming Lai
2nd August 2020

MUSIK, MUSIC, MUSIQUE 1980 | The Dawn Of Synth Pop

13 July 2020 /

1977 is often seen as Year Zero for synthpop, thanks to hit singles by DONNA SUMMER, SPACE and JEAN-MICHEL JARRE.

But it was not until 1979 with TUBEWAY ARMY reaching No1 with ‘Are Friends Electric?’ that the sound of synth truly hit the mainstream.

Although ‘No1 Song In Heaven’ by SPARKS had actually been a hit a few months earlier, ‘Are Friends Electric?’ was the beginning of the synth being accepted as a worthy mode of expression, rather than as a novelty. But as synths became more affordable, they became the perfect tool of youthful expression.

From Cherry Red, makers of the excellent ’Electrical Language: Independent British Synth Pop 78-84’ 4CD boxed set, comes ‘Musik Music Musique’; subtitled ‘1980: The Dawn Of Synth Pop’, this 3CD 58 track collection explores the arrival of synth pop and the dawn of a new musical era. This was the year before the synth became the rule rather than the exception with the success of SOFT CELL and DEPECHE MODE.

The set starts appropriately with OMD and ‘Messages’, one of the first tunes showcasing the warmer side of electronics following the colder wave led by Messrs Numan and Foxx. But as if to counter this next generation of youngsters, ‘Messages’ is immediately followed by the collection’s vocoder laden title song ‘Musik Music Musique’ from Zeus B Held and the superb proto-industrial ode to loveless sex ‘Coitus Interruptus’ by the much missed FAD GADGET.

Zeus B Held was later to make his impression on popular culture remixing ALPHAVILLE and SIMPLE MINDS as well producing the likes of FASHION, DEAD OR ALIVE, SPEAR OF DESTINY and TRANSVISION VAMP, but his wider breakthrough came as part of GINA X PERFORMANCE in 1979 with The Blitz Club favourite ‘No GDM’; on this compendium, the lesser-known but just as worthy ‘Vendor’s Box’ from their second album ‘X-Traordinaire’ is deservedly provided a platform.

The best producers often earn their spurs as artists and realising their limitations, use their accumulated studio nous to subvert the mainstream via pop. ‘Astroboy’ by BUGGLES sees Trevor Horn develop his sonic architecture to prove that he had another song that wasn’t ‘Video Killed The Radio Star’. Meanwhile the welcome inclusion of NEW MUSIK’s other hit ‘This World Of Water’ allows Tony Mansfield to showcase the crafted sparkle that would later go on to adorn records by CAPTAIN SENSIBLE, VICIOUS PINK, A-HA and NAKED EYES.

It may seem strange to see SPANDAU BALLET as part of this package but when they first appeared, they were considered a synthesizer band; ‘Glow’ was a UK double A side single with ‘Musclebound’ in 1981 and while it was the last synth-led track they did, their funk soul aspirations were there for all to hear. In fact, songwriter Gary Kemp had conceived ‘Glow’ with a brass section in mind, so it is now something of a curio that could be seen as a precursor to ‘Chant No1’.

SPANDAU BALLET were produced by Richard James Burgess who co-designed the Simmons SDSV; his electro-jazz combo LANDSCAPE figure with the Colin Thurston helmed ‘European Man’ which was actually designated “electronic dance music” on its single artwork some three decades before it was appropriated and abbreviated to become EDM…

Many of the usual suspects from the period like VISAGE, JAPAN, THE HUMAN LEAGUE and OUR DAUGHTER’S WEDDING are all present and correct with familiar recordings, but interestingly (although not for the better), it’s the original version of Phil Lynott’s ‘Yellow Pearl’ without the Rusty Egan drums or the Midge Ure remix that gets the nod!

One of the main beauties of these thoughtfully curated collections is to be able sway away from the obvious and feature a known-name with a lesser-known work; in the case of ULTRAVOX, it’s the occasionally Eno-inspired and Conny Plank produced ‘Waiting’ which was the B-side to their first Midge Ure fronted single ‘Sleepwalk’. Meanwhile, SUICIDE are represented by the excellent Ric Ocasek produced ‘Diamonds, Fur Coat, Champagne’ and YELLO with ‘Bimbo’, the oddball opener of the Swiss trailblazers’ debut long player ‘Solid Pleasure’.

SILICON TEENS get to feature with something other than ‘Memphis Tennessee’ and it’s the Daniel Miller‘s self-penned instrumental ‘Chip N Roll’ that has the honour, while the Mute Records founder gets another track in with ‘Brushing Your Hair’, a gloriously vibrant instrumental production and co-write for Alex Fergusson of ALTERNATIVE TV.

There’s additionally tracks by lesser known international acts or those bands that faded from view after effectively being one hit wonders. The entire career of M may have been overshadowed by the ubiquitous ‘Pop Muzik’ but Robin Scott did go on to release three albums and work with Ryuichi Sakamoto; the sombre ‘Official Secrets’ may not really have much of a hook but it contains some percolating bleepy sections that pre-date KRAFTWERK’s ‘Home Computer’ by one year.

‘A Circuit Like Me’ from Australian combo, THE METRONOMES actually sounds very 21st century with its detached female vocal and charming monosynths, while the gallop of ‘Drawn & Quartered’ by THE KORGIS is a worthy find. Now while ROCKETS found fame with a catchy robotic flavoured cover of ‘On The Road Again’ with the help of Zeus B Held, the silver faced Italians found that the vocoder suited their performance art poise and reapplied it for the self-penned space rocker ‘Galactica’.

Also possessing a bit of a gallop is LORI & THE CHAMELEONS’ wispy Morricone-influenced single ‘The Lonely Spy’ although with its acoustic strum, it is quite different from the understated electronic disco of their best known track ‘Touch’. Cut from a similar melodic post-punk cloth, the Martin Hannett produced ‘Sympathy’ from PAULINE MURRAY & THE INVISIBLE GIRLS is a reminder of how women were coming to the fore after punk in synth-assisted new wave, a fact borne out on ‘Musik Music Musique’ by the inclusion of more obscure works from TOYAH, KIM WILDE and HAZEL O’CONNOR.

‘Musik Music Musique’ is also an opportunity to become reacquainted with lost tunes of yore and ‘The Eyes Have It’ by KAREL FIALKA will be remembered by those who owned the 1980 Virgin Records compilation ‘Machines’, as will the octave driven ‘Destiny’ by DALEK I LOVE YOU. Some enjoyably avant pop adventures come courtesy of XYNN’s ‘Computed Man’ and SCIENCE’s ‘Tokyo’, while one of the more bizarre but successful experiments included is ‘I’m A Computer’ by THE GOO-Q.

One of the lesser known acts featuring with the eccentric ‘Money’ is MOEBIUS, not the member of German duo CLUSTER but an American art rock band with a penchant for DEVO. ‘Doctor …?’ by BLOOD DONOR is another wonderful discovery while of the more experimental art pieces included, NINI RAVIOLETTE’s ‘Suis-Je Normale’ delightfully comes over like a collaboration between Jane Birkin and Laurie Anderson.

Düsseldorf is often seen as the spiritual home of electronic music and there is worthy representation from DER PLAN and ‘Da Vorne Steht Ne Ampel’ illustrating how there were other dimensions to German electronic music other than that engineered by KRAFTWERK. But closing the set is the band named after the Electri_City itself, LA DÜSSELDORF with the light-hearted ‘Dampfriemen’; a quirky slice of synth “Oompah” with comedic chants and a kazoo section, it sums up the manic oddball nature of the former NEU! drummer Klaus Dinger.

There are many other tracks that have merit, but textures which reoccur on ‘Musik Music Musique’ to date stamp the period are the icy chill of the affordable ARP Quartet string machine and squawky sax, although not in an overblown jazz funk way.

Despite ‘Musik Music Musique’ comprising of a carefully researched tracklisting, a few errors do slip through; as well as the SPANDAU BALLET track being released in 1981 as already mentioned (although it was available on a very scarce Japanese-only promo sampler in late 1980), the version of ‘Kebabträume’ by DAF is the 1982 Conny Plank version from the Virgin album ‘Für Immer’ and not the Bob Giddens produced Mute Records five piece band recording which actually came out in 1980.

Then in the booklet, the Foxx fronted 1977 line-up of ULTRAVOX! gets illustrated as opposed to the New Romantic suited Midge Ure one, while LA DÜSSELDORF’s Hans Lampe is referred to as a “Keyboard Whizz” when he is actually a drummer and now performs with Michael Rother who was Klaus Dinger’s partner in NEU!; in fact Dinger handled keyboards himself under the pseudonym of Nikolaus Van Rhein.

Those are minor quibbles though, because this set is very good value and acts as a great music history lesson as well as offering the chance to hear some new vintage synth. While many may have heard of BERLIN BLONDES, THE PASSAGE, THE FALLOUT CLUB and EYELESS IN GAZA, only a few will have heard their music.

‘Musik Music Musique’ offers something of a low risk opportunity to make some new friends while becoming reacquainted with a few old and lost ones. Here’s to the 1981 follow-up set…

‘Musik Music Musique – 1980: The Dawn Of Synth Pop’  is released on 31st July 2020 as a 3CD boxed set by Cherry Red Records

https://www.cherryred.co.uk/product/musik-music-musique-1980-the-dawn-of-synth-pop-various-artists-3cd/

Text by Chi Ming Lai
13th July 2020

CLOSED CIRCUITS Australian Alternative Electronic Music of the 70s & 80s, Volume 1

26 July 2017 /

‘Closed Circuits’ is a new compilation which brings together a set of post-punk / electronic tracks by some of the unsung artists from the Australian underground.

With the emergence of Antipodean electronic acts over the last 10 years including THE PRESETS, VAN SHE, LADYHAWKE, CUT COPY and GRAFTON PRIMARY, now is a prime time to have a body of work which charts the more experimental material which emerged before these artists gained commercial prominence. The compilation was put together by writer and historian David Nichols.

In his liner notes he adds: “This collection brings together a wide range of recordings really only united by one thing: people using technology to produce something fresh. These were not necessarily artists wedded to the idea of the ‘new wave’ or even hoping to wipe out old rock music; but what these tracks do represent is forward-thinking, inventive, progress…”

The title and artist name of the opening track ‘A Circuit Like Me’ by THE METRONOMES gives you a fair idea of what to expect from it, an utterly charming double monosynth, string machine and Roland CR78-driven song with detached female vocals. The song which features guest vocals from Talking Judy had become much sought after by collectors, so its appearance here will be welcomed by many.

‘Shout & Deliver’ by THE REELS was released in 1981 and narrowly missed the Aussie Top 40, peaking at No43; desperately catchy, it was let down by a slightly oddly panned sound mix. Despite being over 35 years old, the synths, vocal production and chord progressions here sound remarkably current and way ahead of their time.

Initially ‘Great X-1’ by INFORMATICS comes across like a THOMAS DOLBY B-side, mainly instrumental with a ‘One of Our Submarines’ style Moog bass. Halfway through, a slightly off-key vocal unexpectedly appears with the lyrics being a paean to the Bell X-1, an early rocket powered aircraft.

‘On’ by MODELS is a bass-driven DURAN DURAN-influenced synth rock track by an act which eventually went on to achieve decent success in their homeland, even gaining a No1 in 1985.

The band also got some prestigious support slots, accompanying DAVID BOWIE and THE POLICE at early points in their career. ‘On’ is punctuated by some slightly off-kilter synth riffs including one which sounds like FAD GADGET has joined the band, quirky, but entertaining nonetheless!

Talking of FAD GADGET, the intro to ‘Waiting Time’ by YA YA CHORAL is a cheeky re-write of ‘Ladyshave’, with pretty much the same drum machine and octave bassline. However, once the track progresses, the track changes direction with THE CURE-like guitar dominating and an indie female vocal.

Another collectable single making an appearance here is KAREN MARK’s ‘Cold Cafe’, reputably fetching $500 at one point, the song could be seen as an Aussie YAZOO, with emotional female vocals over a monosynth backing, again this is another lost treasure which shows that it wasn’t just the UK that was able to produce synthetic music with a quality vocal on top.

Space doesn’t permit to give mentions to all of the 20 tracks here, but there are some real gems; from DISTANT LOCUST’s slightly bonkers drum machine / fuzz guitar rework / rewrite of DONNA SUMMER’s iconic ‘I Feel Love’ through to rock / synth hybrid ‘Rock Rock Daddy’ by JULES and a lost work by ANNE CESSNA & ESSENDON AIRPORT from 1981.

In many ways this is a really valuable companion product to the UK Cherry Red compilation ‘Close To The Noise Floor’, itself a tying up of the formative years of early synth experiments this side of the pond. What is interesting though is that if anything, the quality of music production here is higher than many of its UK counterparts, especially from a vocal point of view.

Also of note is the high prominence of tracks which aren’t afraid to meld guitars and rock elements with synths, again something which sets many of these tracks apart from European artists. For those that have any interest in the evolution of electronic music (Australian or otherwise) this is a really fascinating compilation and fills in many of the historical gaps. Highly recommended.

‘Closed Circuits: Australian Alternative Electronic Music of the 70s & 80s, Volume 1’ is released a CD, digital download and limited edition 2LP set with four extra tracks on 28th July 2017 by Festival Records / Warner Music Australia

Further information at https://roughtrade.com/music/closed-circuits-australian-alternative-electronic-music-of-the-70s-and-80s-volume-1

Text by Paul Boddy
26th July 2017

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