Camp Christmas (Channel 4 broadcast, 24 December 1993)

Title from ‘Camp Christmas’.

Twenty years BSG – Before Snow GlobeErasure‘s Andy Bell and Vince Clarke participated in Camp Christmas, an alternative Christmas show broadcast by Channel 4 on Christmas Eve 1993. The broadcast formed part of the British broadcaster’s New York-themed suite of programmes that evening, though what Camp Christmas‘s connection to that was now seems lost forever. (I only even remember that because the ident for Channel 4’s NY Christmas programming theme was to be found at the start of my VHS recording.)

Camp Christmas was hosted by Andy Bell and Melissa Etheridge and saw the pair shacked up in a log cabin amidst a seasonally snow-filled studio set, joined on their Christmas vacation by Julian Clary’s wisecracking wall-mounted reindeer head, director Derek Jarman (who died from an AIDS-related illness early the following year) and footballer John Fashanu. Christmas video messages were included from Martina Navratilova and Ian McKellen, the New York Gay Men’s Chorus delivered a humorous song from the Wollman Rink in Central Park while Lily Savage played the role of the party’s hapless caterer.

East 17 made an unlikely appearance – unlikely because they were more or less the only participants on screen who weren’t gay – and Quentin Crisp delivered a soliloquy based on an alternative version of Dickens’ A Christmas Carol. In a programme filled with strange moments, Simon Callow (currently performing his own one-man Dickens show at London’s Arts Theatre) delivered a bizarre hybrid of Shakespeare and panto which is probably not the highest point in his career as an esteemed thesp.

Vince worked as the ‘musical director’ for the broadcast, aided by Martyn Ware and Phil Legg – essentially the team that worked on the I Say I Say I Say album that would get released the following year. The songs for Camp Christmas were recorded in the same sessions with Ware and Legg.

Andy sang three songs with Etheridge (‘Walking In A Winter Wonderland’, ‘Sleigh Ride’ and a very special rendition of ‘My Favourite Things’ from The Sound Of Music), a lovely solo rendition of ‘Take Me To The Emerald City’ from The Wizard Of Oz and ‘Have Yourself A Merry Little Christmas’, joined by the assembled studio cast on the final chorus. It’s fair to say that the musical moments are the points where Andy seems at his most comfortable, and Vince’s accompaniment is nothing short of lovely, blending wintery chill with analogue wackiness as only he knows how.

Still from Andy Bell singing ‘Take Me To The Emerald City’.

Music to one side, Camp Christmas manages to work its way from sublimely daft to frankly cringe-worthy. One such audacious moment comes with Pam St. Clements – Pat Butcher from EastEnders – pretending to be a fairy on a Christmas tree, delivering a song I don’t recognise about farting. It’s ludicrous, naturally, but Vince somehow managed to work his magic effortlessly, even on such a ridiculous piece of over-the-top cabaret.

Channel 4 have always had a reputation for adventurous programming, and Camp Christmas was unlike anything else that had been broadcast up to that point. Adventurous as it was for its time, and despite some dodgy moments, Camp Christmas was also pretty funny in the same way as a pantomime can have you rolling about in the aisles. And that’s in spite of some appearances that are every bit as wooden as the shack they’re supposed to be holidaying in.

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My VHS recording of ‘Camp Christmas’, 24 December 1993, complete with neat teenage fountain pen handwriting.

Thanks to Martyn. Several YouTube rips of the broadcast can be found online, as can bootleg recordings of the Andy Bell songs.

First posted 2013; re-posted for the holidays 2018

(c) 2018 Mat Smith / Documentary Evidence

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2018 Rewind

Last year’s experience of assembling a simple list of what I considered to be my favourite albums of the year didn’t appeal this time around, so I’ve broken down my 2018 into four categories – concerts, interviews, events and albums. As ever, these are all chosen from personal (and often highly personal) vantage points; it doesn’t mean that other things aren’t better – it’s just that these things appeal to me more.

Concerts

Reed & Caroline, Pianos, NYC, May 2018

Last year I wrote gushingly – and, to some, perhaps offensively – about Reputation by Taylor Swift, and this year we saw Ms Swift twice, once at Wembley and once at the Raymond James stadium in Tampa, FL. Mrs S. cried throughout both concerts (I got emotional too, okay?) and, after Wembley, our impressionable eldest / almost-teenage daughter immediately asserted, via the medium of her WhatsApp status, that Taylor represented someone whose values meant a huge amount to her. I don’t even know how to use emojis, let alone add a WhatsApp status, but I will say this (again) – Taylor Swift writes fucking great songs, is an incredibly important role model for young females, and is a sensational live performer. Feeling the concrete vibrate under your seat high up in an American football stadium as thousands of people register their enthusiasm is pretty hard to beat. Weirdly, I was asked some questions about my unashamed love of Taylor Swift (among other things) for The Electricity Club, which you can enjoy here.

I go to fewer and fewer concerts these days, but GoGo Penguin’s strobe-heavy show at the Royal Albert Hall was incredible, as was Barry Adamson’s confessional / big band performance at the Union Chapel, as was Daniel Blumberg at our local gallery in Milton Keynes, as was Nadine Khouri at Rough Trade East. Having a rare dad-and-daughter night out with our eldest daughter to watch Erasure in Aylesbury was a treat, as was her watching me interview Andy Bell for Clash by the bins at the back of the venue during a fire alarm immediately beforehand; it gives new meaning to the fabled ‘bring your daughters to work’ day. Watching Reed & Caroline’s cosy show at Pianos on New York’s Lower East Side in May was another memorable event in so, so, so many ways. More on Reed & Caroline further down the page.

Interviews

Daniel Blumberg by Angela Beltran

As a writer, you always strive to get an opportunity to tell those stories which deserve to be told but which somehow get overlooked. This year I was fortunate to be able to write some really important stories for Electronic Sound, from the weird circumstances of Ciccone Youth’s ‘Into The Groove(y)’, to the still-unreleased synth-heavy ‘Rubberband’ sessions convened by Miles Davis in the 1980s, to Space’s ‘Magic Fly’, to the DIY recordings of Thomas Leer and Robert Rental.

The piece that I’m most proud of, though, was an interview with Daniel Blumberg for Clash. Blumberg’s Minus was one of the albums that caught my attention the most this year, situated as it is on the crossroads between improvisation and Townes Van Zandt-style balladry. Interviewing Blumberg about his creative impulses in his kitchen / non-kitchen for two hours, watching him drawing in front of me, and having the opportunity to piece together his disparate interests while tearing up every question I’d prepared was a profound experience, and one I will never, ever forget. A few moths later I rewatched an interview with David Bowie on the Dick Cavett show around the time of Young Americans, and some of Daniel’s mannerisms reminded me of that, convincing me yet further that I’ve been privileged to have spent time with an absolute artistic genius. The Blumberg piece for Clash is here.

Events

Andy McCluskey – Sugar Tax Interview CDr

April, 2018, an Irish bar in deepest Greenwich Village: not unlike the three witches at the start of Macbeth, Reed Hays, Vince Clarke and I are scheming intently, over, variously, pints of New York tapwater, Diet Coke and Stella. We are talking about how we might promote the new Reed & Caroline album, Hello Science, which would eventually be released in July of this year.

Other than profound enthusiasm, I can’t say I really brought anything new to the table (other than maybe a round of drinks) but it was a massive privilege to have worked with Vince’s VeryRecords on that record nonetheless. After lots of conversation among us and with Caroline Schutz about the song’s hymn-like qualities, at some point I managed to get permission to share ‘Before’ from the album with the music teacher of my my eldest daughter’s school, culminating in a mesmerising performance by the choir at a very special evening event in June which you can see below.

Another professional privilege was being asked by Mute to host a live Q&A with Barry Adamson at London’s Rough Trade East in early November to support his Memento Mori career-spanning compilation. This is the second such event I’ve hosted for Mute, and I can’t express how much of an honour it is to be offered the chance to support the label I’ve been a fan of for so long in this way, other than to say, humbly, and rather feebly, that I feel incredibly lucky. The Q&A, which I cheekily described as “Memento Mori Jackanory” (to the amusement of myself and one other person), was also a form of redress for an earlier Adamson interview I’d conducted just as he left Mute, representing one of the first Q&As I’d ever done, which I still cringe at today.

This year I interviewed OMD’s Andy McCluskey for the second time. The conversation, focussed exclusively on the album Sugar Tax, will never get written up, and the recording will never be heard beyond three people – myself, my mother and my father. The catalyst was my father’s January diagnosis with Alzheimer’s, and the significance of Sugar Tax was that it was an album he and I would often listen to in the car on Saturdays while he drove around our home town working his own second job. I cherish those memories so much, and am so grateful to Andy for consenting so readily to sharing his own, highly personal recollections of that LP so directly with my family and I.

Alzheimer’s has made 2018 a tough year for our family, but music has often been the salve to the suffering we have all felt since his diagnosis.

Albums

The album I spent most time with in 2018 was O.Y. In Hi-Fi by Optiganally Yours, a duo of Optigan aficionado Pea Hicks and vocalist / multi-instrumentalist Rob Crow. By way of quick summary, the Optigan was a Mattel home organ / pre-sampler keyboard that utilised discs of pre-recorded loops that you could use to make your own songs. I’d have known nothing of this this duo were it not for the enthusiastic recommendations of Reed Hays, who used an Orchestron – a kind of grown-up, professional version of Mattel’s 70s keyboard project – on the aforementioned Hello Science LP.

For O.Y. In Hi-Fi, Hicks dusted down the original master tapes of the sessions that produced the various LP-sized discs of Optigan loops (hence the ‘hi-fi’ reference in the title), meaning – deep breath – that this album samples original material that would end up being used as lo-fi recordings on an early keyboard that sort of used sampling technology as its basis. Honestly, this album contains some of the best songs I’ve heard this year. Well worth investigating, as is a tinker with Hicks’ GarageBand-bashing iOptigan iOS app, just like I made Vince Clarke and Reed Hays do as we regrouped over drinks at that same Irish pub later in the year.

As I’ve said before, so much of album reviewing is, for me, inextricably linked to where I am at that precise point in time, whether mentally or geographically. Reviewing Erasure’s neo-classical collaboration with Echo Collective while sat in a hotel window overlooking Central Park in a reflective and lonely state of mind takes some beating, while listening to First Aid Kit’s Ruins while ‘enjoying’ a freezing cold work trip to Canada also can’t help but leave a mark on you (possibly frostbite).

Daniel Blumberg’s Minus is synonymous, for me, with taking apart and rebuilding our youngest daughter’s wardrobe as we relocated her bedroom in our house, while the fantastic debut Ex-Display Model LP just reminds me of an evening wandering the West End after work, watching while everyone seemed to be having a good time in bars and pubs while I seemed resolutely outside of pretty much everything.

(c) 2018 Mat Smith / Documentary Evidence

Iv/An – Transmute (0.5 EP, 2018)

ivan_transmute2

To celebrate Mute‘s 40th anti-versary, electronic musician, 0.5 label owner and Small Doses publisher Iv/An has issued a unique tribute to the formative years of Daniel Miller‘s label.

Iv/An has previously released a carefully-hidden cover of The Normal‘s ‘Warm Leatherette’ – spliced with Donna Summer’s ‘I Feel Love’ – on a CDr that came with an issue of Small Doses that coincided with the 35th anniversary of Miller’s debut single. For its 40th, he has issued a highly limited handmade object in a private edition of just twenty copies, containing a CDr with a new version of ‘Warm Leatherette’ interspersed with sections recognisable from Depeche Mode‘s ‘I Sometimes Wish I Was Dead’ and Nitzer Ebb‘s ‘Join In The Chant’.

The CD also includes a new track ‘FG/FT’ based on Fad Gadget‘s ‘Ricky’s Hand’, ‘New Jerusalem’ by Frank Tovey and another early Ebb track, ‘Violent Playground’; taking the concept of documentary evidence to an obsessive level that I could only ever dream of, the lyrics on ‘FG/FT’ are derived from Biba Kopf’s liner notes to The Fad Gadget Singles, a snippet of Fad’s own ‘Insecticide’ and an old Mute LibTech article about Fad / Frank. The final track on the EP is a cover of Yazoo‘s ‘Bad Connection’ containing sections of ‘Back To Nature’, ‘Salt Lake City Sunday’ and ‘Lady Shave’ by Fad Gadget, and Yazoo’s own ‘Goodbye 70s’. The effect is like listening to an Eric Radcliffe and John Fryer DJ set at a Blackwing Mute staff party, with exclusive invites to just a handful of twenty fortunate souls.

The cardboard sleeve quotes J.G. Ballard’s seminal and controversial 1973 novel Crash, one of the primary influences on Miller’s lyrics for ‘Warm Leatherette’, along with still life photocopied images of Ballard and two of the novel’s narrator’s main muses, both of whom died in car accidents – James Dean and Grace Kelly.

The new version of ‘Warm Leatherette’ is available at 0.5’s Bandcamp page as a free download and can be streamed below. Iv/An has also created a video for the track, which you can also find below.

Link: 0.5 on Bandcamp

 

With thanks to Iv/An for making me one of the fortunate twenty.

(c) 2018 Mat Smith / Documentary Evidence

In Conversation: Barry Adamson (Rough Trade East, 7 November 2018)

Upon the release of his career-surveying Memento Mori compilation, I will have the enormous pleasure of talking to Barry Adamson at a very special Rough Trade East event on 7th November from 7pm.

Barry Adamson talks to Mat Smith about his 40 years in music, taking in his formative beginnings with Magazine, his time as a member of Nick Cave and the Bad Seeds, film soundtracks and his solo career, as a musician and composer.

This will be followed by a short set of songs from his new 40 year anthology ‘Memento Mori’.

After the performance there will be a signing where Barry will be available to sign his new album and items from throughout his career.

Tickets can be obtained through Rough Trade’s website here.

(c) 2018 Mute / Rough Trade

Cold War Night Life presents Non-Stop Electronic Cabaret (The Islington, London 29.09.2018)

If you’re remotely interested in electronic music you must have been asleep under a rock to have missed the Soft Cell activities that have been happening this year – a huge box set, a singles collection and a tour.

Ahead of Marc Almond and Dave Ball’s final London date, Simon Helm’s Cold War Night Life website have curated a very special event in Islington under the wonderful title Non-Stop Electronic Cabaret on September 29, 2018.

The event brings together all-too-easily overlooked Canadian synth duo Rational Youth (whose debut album begat Helm’s site its name), fellow Canadian moody electronic act Psyche and Sweden’s Page – to the best of my knowledge the only synth group to openly claim to be directly influenced by Daniel Miller’s cheeky short-lived fake group Silicon Teens.

Discerning electronic music fans can get tickets via Billetto.

Venue: The Islington, Tolpuddle Street, N1 (Angel Tube)
Date: Saturday, 29 September 2018
Times: doors at 7:00 pm, first band on stage at 7:30 pm, ends at 11:00 pm
Tickets: £15 plus agency fee through Billetto
Ages: 18+

(c) 2018 Mat Smith / Documentary Evidence

Electronic Sound Issue 42 – Mute Cover Feature & The Normal Clear Vinyl 7″

ES42_BUNDLE-SQUARE

Electronic Sound have today announced their Mute-focussed latest issue, featuring a major new interview with Daniel Miller and an exclusive clear vinyl pressing of The Normal‘s ‘Warm Leatherette / T.V.O.D.’ 7″.

The issue also features a rundown of Mute’s 2018 artist roster and a new interview with the longest-serving member of the Mute community, Erasure‘s Vince Clarke, wherein he talks about joining the label with Depeche Mode, Miller’s influence on him as an electronic musician, and how he approaches running his own label, VeryRecords.

The full announcement from Electronic Sound is included below.

“I honestly didn’t think anybody would like it,” says Daniel Miller, talking about The Normal’s ‘TVOD’ / ‘Warm Leatherette’, which we are delighted to be reissuing with this issue of Electronic Sound. While The Normal was where Mute Records all started, this month’s cover story finds Daniel Miller discussing how his label is shaping up for the future. We also profile the artists that make up Mute’s Class of 2018, as well as catching up with Vince Clarke, a man who has only ever been signed to one label for his entire recording career. Click here to order now.

This issue also includes a rare interview with David Sylvian, discussing his soon-to-be reissued work with Can’s Holger Czukay, a chat with Finiflex, the artists formerly known as Finitribe, and a drinking session with post-punkers Sink Ya Teeth, who put us under the table. Elsewhere, we speak to Klaus Schulze, Claudia Brücken & Jerome Froese, The Orb, A Flock Of Seagulls and LUMP, a new project from indie folkster Laura Marling and Tunng’s Mike Lindsay. Plus there’s our usual bumper mix of tech, toys, books, gadgets and, of course, the very latest must-hear album releases.

This month’s exclusive music offer is a limited edition reissue of The Normal’s ‘TVOD’ and ‘Warm Leatherette’ seven-inch on crystal clear vinyl. Recorded by Daniel Miller using just a Korg 700S and a four-track tape machine, the single was the first release on Mute Records and is recognised as one of the most important electronic music records ever. Our reissue comes in a replica of the original 1978 picture sleeve. Click here to order now.

(c) 2018 Electronic Sound

Snapped Ankles cover CAN’s ‘Bel Air’ on Record Store Day Violations EP (The Leaf Label EP, 2018)

“On their sublime debut ‘Come Play The Trees’ you hear the group proffering buzzing drones, the kind of ritualistic psychedelia that future pagans will whirl round sacrificial bonfires to, David Bowie jamming with Neu! on the nihilistic impenetrability of ‘Johnny Guitar Calling Gosta Berlin’, sinewy synth lines gleefully vying with clattering percussion, and a general sense of a group channeling dark impulses through psychic rifts known only to a select few.” – Electronic Sound

Snapped Ankles‘ mysterious debut Come Play The Trees was one of the stranger albums I reviewed for Electronic Sound last year, and in its weird tones I heard something akin to The Residents mixed with a bit of Suicide. Anonymous, urgent, vibrant and one of those drawdropping crossover albums that blends synths and rock together like they always belonged together.

The band have prepped a politicised four-track 12″ EP for Record Store Day that takes tracks by The Fugs, Joey Beltram and overlooked Eighties cult band Comateens and plays freely with the lyrics to make their messages more relevant to a modern world that’s evidently going to – or possibly already gone to – the dogs.

The EP is rounded out with a version of CAN‘s ‘Bel Air’, originally from 1973’s Future Days, which takes the serene, hypnotic Californian chill of the original and adds a sinister edge, its repeated references to dressing gowns jabbing pointedly at Weinstein’s alleged Hollywood misdemeanors.

Check out the video for the band’s blistering take on The Fugs’ ‘CIA Man’ here.

(c) 2018 Mat Smith / Documentary Evidence