Electronic Sound 53 – including my Mute STUMM433 feature

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The latest issue of Electronic Sound is now available in the usual high street retailers and as a bundle with an exclusive 7″ from their website. This issue has a primary focus on Berlin, featuring conversations with Alexander Hacke from Einstürzende Neubaten, Mick Harvey, Simon Bonney and others who recall the vibrant creative melting pot that the divided city represented in the late 70s and early 80s. The accompany 7″ features Berlin legends Malaria! while Gudrun Gut from band offers her take on sometime Berlin resident David Bowie’s ‘Boys Keep Swinging’ on the B-side.

My major contribution to issue 53 was a feature on John Cage’s seminal composition 4’33” and the incoming Mute STUMM433 project. For this feature I interviewed K Á R Y Y N, Daniel Miller, Simon Fisher Turner, Irmin Schmidt, Laibach, Pink Grease and Maps, each of whom explained how they approached their performance of Cage’s distinctive piece – where they recorded it, and what instrument they didn’t play. Each of the 58 versions on STUMM433 is wildly different from the next, each one includes its own individual story and accompanying visual, and only one of the inclusions is actually silent – just as Cage would have wanted.

This feature involved me diving back into Cage’s Silence book – something I’d first tackled in my late teens when I found a copy in my local library and studying the score. One took much longer than the other. It also awoke in me an interest in Zen after reading about Cage’s following of these ascetic Buddhist principles.

Elsewhere in this issue I reviewed Colours. Reflect. Time. Loss. by Maps; the score to Marnie by Bernard Herrmann; David Tibbet and Andrew Lisle’s debut Nodding God album; the latest Blow collaboration on Front & Follow by Polypores and Field Lines Cartographer; and a fantastic new Buchla-based concept album by Simon James.

(c) Mat Smith / Documentary Evidence for Electronic Sound

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Plastikman – Sheet One (NovaMute album, 1993)

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Plastikman ‘Sheet One’ 2xLP NovaMute sleeve.

Released in October 1993 on NovaMute, Sheet One brought Windsor, Ontario’s Richie Hawtin‘s Plastikman onto the label’s roster, Daniel Miller‘s imprint effectively licencing the album for the UK and Europe from Hawtin’s own Plus 8 label.

While Sheet One became notorious for all the wrong (or right) reasons by the CD sleeve’s recreation of a perforated sheet of LSD tabs, with the requisite and implausible rumours that the sleeve really did have acid on it, what’s most surprising is that electronic music designed to be listened to at home or in a club, as opposed to merely in a club, was still a relatively unusual thing twenty years ago. Warp’s Artificial Intelligence compilations (the first volume of which had included Hawtin in his UP! guise) and the series of clever electronica releases clustered around them – such as Polygon Window’s Surfing On Sinewaves and Black Dog Productions’ Bytes, as well as early releases from sometime NovaMute signee Speedy J and Autechre – had paved the way for a new strain of dance music that didn’t require any form of dancing at all.

If Sheet One found itself dropped neatly into that whole Artificial Intelligence genre, it set itself apart by eschewing the notion that these tracks couldn’t be played in clubs. Throughout the album’s eleven tracks, Hawtin maintained a focus on pared-back rhythms more usually found on acid house tracks, perhaps slowed down a fraction compared to the then-popular number of BPMs but not inconsistent with the original tracks by the likes of Phuture from the decade before. Added to that was Hawtin’s love of the key ingredient of acid house tracks – the Roland TB303 – which gave these tracks an energy and vibrancy that most armchair techno seemed to forget to include. Okay, so the 303s weren’t tweaked as hard as Hawtin would do on, say, his astonishing remix of System 7’s ‘Alpha Wave’, but they nevertheless contained enough of a squelchy urgency to get most acid heads excited and if would only take a modicum of pitch-shifting to get these tracks into a more adventurous DJ set.

The other distinctive element on Sheet One, and the element that meant it was able to align itself with the Artificial Intelligence crowd, was the use of reverb. Everything on Sheet One is swathed in rich levels of treacly echo, giving the textures here a languid, atmospheric and vaguely chilling quality. That echoing aspect always reminded me of the eerie static hum that wrapped itself around Kraftwerk‘s Radio-Activity album, and for some reason also made me think of some of the haunting passages on the soundtrack to Teen Wolf. I used to study and revise to Sheet One and its equally-enthralling follow-up Musik, which perhaps credentialises the atmospheric quotient.

In many ways the central track on Sheet One is ‘Plasticine’, an eleven minute epic consisting of a minimal pulse, nervous bass tones and a 303 line that rises up seemingly out of nowhere, bringing with it a more rigid beat and a degree of dark energy. Hearing a 303 like this, where it is presented more or less nakedly, shows just how weirdly versatile Roland’s instrument was – even if it’s being deployed in a way that the manufacturer never intended. A breathy voice that seems to be saying ‘it’s you’ adds to the overall vibe of a haunted, alien dancefloor. ‘Plasticine’ has all the requisite rises and falls associated with most dance music, only here it’s elongated, extended and somehow much more emotionally affecting. The track’s final moments are comprised of deep bass resonances and a thudding remnant of what used to be the beat.

The similarly-timed ‘Plasticity’ is the other stand-out track here, with the sounds of aircraft rumble ushering in a echo-soaked rhythm and ruminative 303 melody. There’s a floating, shapeless quality to some of the other sounds deployed on ‘Plasticity’ – brief melodic pads, clicking, noisy interventions, what might be a euphoric yelp or an anguished scream – giving this a psychotic vibe that would have suited a desperate chase scene in a movie. ‘Smak’ goes even further – a dense web of heavy beats and brooding synths underpinned by strings that evoke comparisons with Laibach and samples of screaming angst.

Any uplifting quality is there offset by a far darker energy, ebbing away into ‘Ovokx’, which reveals the stark message to the world’s population sampled from The Day The Earth Stood Still.

‘Gak’ departs from the regimentation of the 4/4 rhythm and instead opts for a clattering, bass-heavy electro beat draped in layers of cavernous reverb, and double-time percussion that leans close to the skeletal bone-rattling that would come on ‘Spastik’, an effect which is also deployed on the urgent ‘Helikopter’. ‘Helikopter’ really does sound like the rapidly rotating blades of a chopper, layers of hard-spun sound rotating around your ears with an infinite swirl. In complete contrast, ‘Vokx’ is a quiet, stirring cinematic symphony for the scene that surveys the scarred landscape, the second half dominated by sirens, screams and panicked sections of dialogue.

Sheet One is an unsettlingly unique album, and one that knocked its peers out of the park, retaining enough of techno’s key energy rather than disposing with it altogether. Twenty-five years on, it sounds as sharply arresting as it did at the time, while other albums from the time sound positively dull. The follow-up album, 1994’s Musik, was just as attention-grabbing but leaned harder into a more scientifically-assembled experimentalism, highlighting Hawtin’s restless dexterity.

Sheet One was released as a CD and vinyl edition in the UK. There were two versions of the vinyl album, the 2000 copy limited edition picturedisc version of which is now something of a collectors’ item. In 2012 Mute released a remastered Sheet One in the wake of Hawtin’s expansive Arkives 1993 – 2010 boxset, ditching the original NovaMute catalogue reference (nomu22) and replacing it with a Mute one (stumm347).

First published 2013; edited 2019.

(c) 2019 Mat Smith / Documentary Evidence

Iv/An – Transmute (0.5 EP, 2018)

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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

Mute 4.0: Fad Gadget – Fireside Favourites (Mute album, 1980)

As part of Mute‘s fortieth ‘anti-versary’, the label is making available very special limited edition vinyl versions of selected releases from their four decades of releasing and curating incredible music. Full details on the releases can be found here.

Released in 1980, Fireside Favourites was the third album to be released by the nascent Mute imprint and the first LP by the sorely-missed, still woefully-overlooked Frank Tovey. Tovey’s early work as Fad Gadget played an enormously significant role in the development of Mute’s creative aesthetic, beginning with the Daniel Miller-produced ‘Back To Nature’ single and continuing with this album.

The creative team behind Fireside Favourites was common to a number of early Mute releases – the album was recorded by Eric Radcliffe at his esteemed Blackwing studio, accompanied by his young protégé John Fryer; Miller added extra synth nous to a number of the track and the sleeve was designed by Simone Grant. ‘Back To Nature’ isn’t among the tracks on the album (not an uncommon thing for early Mute albums), but a radically reworked version of its B-side ‘The Box’ appears toward the end.

As an album, Fireside Favourites is a collection of contrasts. The are moments of near-pop that brim with vibrant synth-driven energy, such as the frantic opener ‘Pedestrian’, which has one foot in the evolving post-punk movement and another in the developing electronic pop scene. But even in something like ‘Pedestrian’ there’s a noisy, clattering interlude and conclusion; the brief, mewling sound of a baby in the background, along with Tovey’s distinctive half-spoken / half-sung vocal, keeps this and other more accessible tracks like ‘Salt Lake City Sunday’ from feeling too accessible.

Elsewhere there are moments of ugly, abrasive noise that aligned our Fad with the works of contemporaries like Throbbing Gristle and Cabaret Voltaire, the processed vocal on single ‘Insecticide’ and the theme of ‘Newsreel’ being cases in point. The vivid lyrics on those songs nodded to Tovey’s physical stage performances and also carried a nihilistic, Ballardian impulse that Daniel Miller had also employed for his own ‘Warm Leatherette’ single.

What also emerges here, perhaps surprisingly, is a dark and occasionally threatening funk angle. ‘State Of The Nation’ has some solid drumming from Nick Cash and a treacly bassline from Eric Radcliffe over which are layered all sorts of sonic events, from squalling, saw-edged synth blasts to wonky melodies, to probably anything that was lying around in Blackwing at the time that could be made to make a sound. The seminal ‘Coitus Interruptus’ does the same, but its funky disposition is subsumed under unswerving, focussed synths that give this frustrated sexual paean a robotic quality, a bit like how Kraftwerk might approach Soft Cell’s ‘Sex Dwarf’; there’s an increasingly breathless, desperate, snarling quality to Tovey’s vocal here, the perfect human foil to the menacing, repetitive electronics that surround him on this weirdly anthemic track.

Tovey had a reputation for being something of a confrontational performer, but he was also a purveyor of dark humour. There’s no better example of this than the title track, bestowed with a wandering, irrepressibly joyous Radcliffe bassline and jazzy, (qu)easy listening brassy synths. It’s a lot of fun, but if you listen to the lyrics –sung with a gentle, music hall breeziness – they are unendingly grim, loaded with vivid post-apocalyptic imagery and a bit of that Crash-style perversity: “Hey now honey, open your eyes / There’s a mushroom cloud up in the sky / Your hair is falling out and your teeth are gone / Your legs are still together but it won’t be long.”

The rendition of ‘The Box’ is perhaps the most surprising of the tracks here. In the place of the original version’s insistent, over-amped synth bounce, the version here is much more subdued, with the distinctive synths being replaced by what could be a pump organ. The whole track only emerges out of its subdued, detached mood at the very end, making this almost the inverse of itself and acting as something of an oblique clue to Tovey’s later work under his own name with The Pyros.

Why this LP doesn’t seem to carry the same sort of influential weight as the synth albums that arrived en masse the following year – such as the similarly dark Non-Stop Erotic Cabaret by Tovey’s fellow Leeds Poly students Soft Cell – remains a bit of mystery to me. Perhaps Fad Gadget was too much of an outsider figure, too linked with that grubby, confrontational DIY industrial movement to appeal more broadly. The orange vinyl re-release of Fireside Favourites for the Mute 4.0 ‘anti-versary’ provides an ideal and timely opportunity to give this album the critical appreciation it always deserved.

For Mute 4.0, Fireside Favourites is being reissued as an orange LP edition.

(c) 2018 Mat Smith / Documentary Evidence

Complex Industrialist: Douglas J. McCarthy (interview, 2012)

I interviewed Nitzer Ebb’s Douglas McCarthy in 2012. At that time, Doug was prepping his first solo LP, at that time intended to be called Life Is Sucking The Life Out Of Me, but which eventually emerged as Kill Your Friends on Pylon later that year. My interview was originally accompanied by a promotional photo that Doug had supplied, but which the photographer insisted I removed. I’ve no idea now if this photo is the one she asked me to remove – if it is, I will happily remove (again).

One of the two most important electronic acts to emerge from Essex in the Eighties, Nitzer Ebb surprised a lot of fans by reforming in the 2000s, not just for shows as is the current money-spinning way for the record industry machine to milk a band’s back catalogue, but also to record new material. The trio of Bon Harris, Douglas McCarthy and Jason Payne that had recorded 1994’s supposed swansong, Big Hit, almost ten years earlier, came back together to record Industrial Complex (also abbreviated to ICP), an album which managed to complete the circle that Nitzer Ebb had started but never quite finished, returning them to the punishing electronic body music of their earliest Power Of Voice and Mute releases. With Nitzer Ebb now on downtime after a couple of intense years of touring, including a powerful slot at Mute’s Short Circuit festival at The Roundhouse in London last year, Douglas McCarthy has recorded his first solo album, Life Is Sucking The Life Out Of Me. The album is due for release in April 2012.

‘Last year proved to be a bit frustrating for me with a few projects and tours being stymied by situations, events or people beyond my control,’ explains McCarthy by email from Los Angeles on the origins of Life Is Sucking The Life Out Of Me, ‘so I decided to take matters into my own hands. As it has turned out it was a fortuitous judgement call as, about six months after I started writing, we decided that we would take a year out from Nitzer Ebb. I also wanted to make music that was much more club based than Nitzer Ebb have ever done.’

McCarthy first moved to LA in the early Nineties, then spent some time moving round the country before heading back to England toward the end of the decade. ‘I initially came back to LA in 2005 to work with Bon on the reunion tour and then as the tour progressed and we started to work on new tracks it seemed sensible to relocate from London and work on the album that eventually was released as Industrial Complex.’ Life Is Sucking The Life Out Of Me, however, was begun back in the UK. ‘My father was in the last stages of a very grim terminal illness,’ says McCarthy, ‘and so my wife and I spent a lot of time in the UK. Going out to various nights and parties like my dear friend Richard Clouston’s Cosey Club really reminded me of a lot of things from years gone by and played a big part in the approach to the album. After my dad died, my wife and I came back to LA where the rest of the album was written and recorded in a relatively short space of time. We worked in an amazingly relaxed way, which is a direct response to being out here I think. I actually achieved much more taking that approach.’

While details of McCarthy’s solo record are starting to emerge, ears are still ringing from the breathtaking, urgent fast-paced beats and classic syncopated basslines of 2009’s Industrial Complex, the release of which was promoted by two hard years of touring and almost 150 live shows. ‘It came about after I had recorded an album as Fixmer/McCarthy with Terence Fixmer,’ says McCarthy of Industrial Complex‘s origins. ‘We toured extensively and would always drop in one or two classic Nitzer Ebb tracks. Inevitably it lead those cunning promoters to start asking if Nitzer Ebb could actually do shows again. I emailed Bon and as we were both going to be in the Midwest we agreed to meet up in Chicago for a chat. All went well and we agreed to play a smattering of festivals in Europe. Then, so as not to just be sitting on our arses between events, we added club shows in between. As it turned out we play something like 75 shows in Europe, Japan, Australia, New Zealand, North America and South America. I had already moved from London to LA to rehearse and prepare for the tour so when we had breaks from touring, that was our home. We decided to fill the time with trying out some new ideas and, remarkably given our long break from the studio, it was fun, so we carried on in our own sweet time until we thought we had an album.’

‘In a lot of ways it was very similar to making Big Hit,’ continues McCarthy. ‘We would often start with a blank piece of paper, just evolving ideas in the simplest form as the mood took us – a bass part, a keyboard part, a percussion part, a guitar part, whatever was easiest to start an idea rolling. After that we would work on it for usually no more than a day, put it to bed and start the whole process again on something new. We carried on like that until we had over thirty tracks and then thought we better stop and pick the ones that would be a good collection for ICP. That’s the main difference, with Big Hit we really wrung the living hell out of the tracks before moving on to the next.’

The brittle Big Hit was preceded by Ebbhead, the 1991 album produced by Alan Wilder, recently of Recoil fame, with whom the trio of McCarthy, Harris and Payne performed on stage at The Roundhouse last year. In 1991 Wilder was the musical backbone of Depeche Mode, the other important electronic band to emerge from Essex in case you were wondering. ‘We toured with the Mode for the second time on the Violator album tour in North America in 1990, which was a life changing experience for all and sundry. On the tour we discussed working with Alan upon our return to the studio. The plan was for him to co-produce with Flood, which worked out perfectly. We approached Ebbhead this way because we saw how well these two could work together on Violator and wanted a more ‘musical’ approach to the songs, which is really at the core of someone like Alan as he is classically trained. The combination of that with Flood and Bon’s fantastic knob-twiddling, and my desire to ‘sing’ more, were all part of the evolution of that album.’ Ebbhead showcased a new, tortured emotional depth for Nitzer Ebb, even if it was obscured by the lurid dayglo colours of the album’s bright yellow sleeve.

‘We started as school friends who enjoyed skateboarding, music and drinking cider,’ recalls McCarthy of the halcyon youthful days from which Nitzer Ebb would eventually emerge. ‘Musically, we took our influences from a fairly eclectic array of artists and styles – Forties jazz, Fifties rock ‘n’ roll, glam, disco, punk and the post-punk scene that was emerging as we were starting to go out. Bands like The Banshees, Bauhaus, Killing Joke, Theatre of Hate, The Birthday Party, Neubauten and Malaria! were all playing live shows that we would go to. We were also listening to Cabaret Voltaire, DAF, Fad Gadget, The Human League, Abwärts, Virgin Prunes, Soft Cell and The Normal among many more.’

Nitzer Ebb signed to Mute in time for the release of their first album, 1987’s insistent That Total Age, which was produced by Daniel Miller. ‘We were very aware of Mute and Daniel Miller of course; growing up in Essex with Depeche down the road in Basildon meant it was a no-brainer. Once we had signed Dan took me and Bon over to Hansa Tonstudio in Berlin to remix ‘Let Your Body Learn’ with Gareth Jones. It was our first trip to Berlin and at the airport we ran into Diamanda Galás, who was in the process of moving there so we all took pieces of her luggage as she had a mountain of stuff and had a very amusing flight getting told off by the flight attendants. It was like being Daniel’s naughty nephews on a weekend cultural break.’ Of their former label head, McCarthy has nothing but high praise. ‘Daniel has always been full of fantastic ideas, some more fantastic than others, but he never shows any diminished excitement about a project even, as it often does, when it gets tough.’

As the interview began to wind up, it seemed appropriate to ask McCarthy about the pronunciation of Nitzer Ebb, a debate which has seen fans take two sides, those who call the band Night-zer Ebb and those who prefer Nitt-zer Ebb. McCarthy is ambiguous as ever. ‘To be honest it started off as Night-zer but after decades of Nitt-zer I slip between the two.’

Originally posted; re-posted 2018.

(c) 2012 MJA Smith / Documentary Evidence

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″

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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