News: Akiko Yano feat. Reed & Caroline – When We’re In Space (Speedstar Records, 2018)

Continuing the themes of their Hello Science album from earlier this year, VeryRecords artists Reed & Caroline have collaborated with Japanese pop singer Akiko Yano on a new track, ‘When We’re In Space’. The track is taken from Akiko’s latest album Futari Bocchi De Ikou, which was released by Speedstar Records in Japan today.

“Akiko and I are neighbours,” says Reed about the origins of the song. “Whenever we ride the elevator together we talk about music, space and Kraftwerk. She came to the very first Reed & Caroline show at a little club in NYC – our first fan!

“Earlier this year she asked if we could collaborate on this project. She played a beautiful melody and I asked what the song should be about. She said, ‘The International Space Station!’ All of the music – except for Akiko’s piano – was created using the Buchla synthesizer.”

Piano and vocals: Akiko Yano
Additional vocals: Caroline Schutz
Buchla: Reed Hays
Music composed by Akiko Yano. Lyrics written by Reed Hays.

Futari Bocchi De Ikou is available to buy from amazon.jp here.

(c) 2018 Mat Smith / Documentary Evidence for Reed & Caroline and VeryRecords

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Electronic Sound Issue 45

The ‘bundle’ edition of Electronic Sound 45 has already sold out, which means that if you didn’t buy it already, you’ve missed out on the opportunity to hear the exclusive Vince Clarke remix of ‘Magic Fly’ by Space that formed the A-side of the accompanying 7″ single. And believe me, that’s a pity – it ranks among Mr Clarke’s finest remixes and you’ll now probably never get to hear it. The B-side was the wonderful and moving ‘Before’ by Vince’s VeryRecords signing Reed & Caroline, marking the duo’s first time on a vinyl record.

For this issue I interviewed Didier Marouani, the classically-schooled musician behind the mysterious space helmet-wearing Space, marking one of those privileged opportunities that this magazine often gives me to write a story that hasn’t really ever been told before. My mum was dead proud too, because she bought ‘Magic Fly’ when it first came out in 1977 (I was a mere year old), and I think she believes that this had a major influence on my later interest in electronic music – and she’s probably right.

Elsewhere, for this issue I wrote reviews of albums by Julia Kent & Jean DL, Ghostly signings Helios, the marvellous Dutch group Go March, and Welsh non-pop artists HMS Morris. I also got the chance to review two absolutely stonking records – a jazz opus by Bugge Wesseltoft & Prins Thomas, and O.Y. In Hi-Fi by Optiganally Yours, fast becoming the record I’ve played more than any this year. The record was constructed principally from the original master tapes of sounds that would be used in Mattel’s Optigan, meaning it was made with sounds from the Optigan but in a high resolution form that the Optigan itself could never deliver.

And linking that back around to the 7″ you sadly can’t listen to – Pea Hicks from Optiganally Yours is the custodian of the only equipment in existence to manufacture optical discs for the Vako Orchestron, the zany professional version of the Optigan which Reed Hays used on Reed & Caroline’s Hello Science, turning Caroline Schutz’s vocal into lo-fi textural loops.

The non-bundle version of issue 45 is available at www.electronicsound.co.uk

(c) 2018 Mat Smith / Documentary Evidence for Electronic Sound

Reed & Caroline – Before (Aylesbury High School Chamber Choir performance, 27 June 2018)

The Aylesbury High School Chamber Choir performed ‘Before’ by Reed & Caroline at their Music, Muses and Movement concert on Wednesday 27 June. The performance was the culmination of almost three months of planning and rehearsal by the choir.

When working on the promotional support for Reed & Caroline’s second VeryRecords album Hello Science, Reed Hays, Caroline Schutz, Vince Clarke and I kept coming back to the notion that ‘Before’ sounded a lot like a hymn because of its philosophical and spiritual quality. Caroline in particular said that performing that piece reminded her of the Christian hymns she sang at school, despite growing up Jewish. That got us thinking about asking a choir to perform the song, so I asked the music teacher at the girls’ high school in Aylesbury as to whether they’d be willing to support the promotion of Hello Science with a performance of the song, and they graciously consented.

‘Before’ is already a beautiful, moving, poignant piece of music. In the hands of the Aylesbury High School Chamber Choir the song takes on an entirely new level of poignancy, something which has reduced more than one of us who worked on this record to tears.

You can watch this very special, unique performance of ‘Before’ at the VeryRecords YouTube channel here.

Reed, Caroline, Vince and I are all incredibly grateful to Ms Raven, the Aylesbury High School Chamber Choir and the school’s headteacher Mr Rosen for giving us the loan of the choir for this wonderful performance.

Credits:
Arranged and conducted by Olivia Raven
Filming by Mat Smith and Seren Smith
Video editing by Vince Clarke
Sound mixing by Reed Hays
Performed at the Aylesbury High School Music, Muses and Movement evening performance, 27 June 2018

Hello Science can be ordered from the VeryRecords website.

(c) 2018 VeryRecords

VeryRecords: Reed & Caroline – Hello Science Interview (2018)

Ahead of the release of Hello Science, I caught up with Caroline Schutz and Reed Hays to talk about identity crises, science (duh, obviously) and dealing with demands for royalties from daughters. The interview was published today on the VeryRecords website here.

Hello Science is available to purchase at the VeryRecords website, or from the merchandise stall if you happen to be Stateside and watching Erasure on tour

(c) 2018 Mat Smith / Documentary Evidence for VeryRecords

Electronic Sound Issue 43

Issue 43 of Electronic Sound is now available, and this month’s magazine & 7″ bundle includes exclusive tracks from the Radiophonic Workshop, the beneficiaries of a major in-depth feature this month.

For this issue I wrote a short introduction to the music of Ratgrave, whose jazz / hip-hop / electro / funk debut I mentioned in The Electricity Club interview, and who I expect I’m going to be banging on about for several months to come. Their self-titled album is released at the end of this month and it is a wild, untameable beast of a fusion record. I also interviewed Norwich’s Let’s Eat Grandma for this issue about their second album, which sees childhood friends Jenny Hollingworth and Rosa Walton taking their curiously idiosyncratic music in a squarely electronic pop direction, complete with analogue synths and production nous from Faris Badwan and SOPHIE. We also had a god natter about the merits of rich tea biscuits.

In the review section I covered Yeah Yeah Yeahs drummer Brian Chase‘s mesmerising Drums & Drones collection, three discs of processed percussion inspired by time spent at La Monte Young and Marian Zazeela’s Dream House; a hard-hitting gem of an album by 1i2c which I described as ‘therapeutic music for anxious robots’; the new album from 4AD’s Gang Gang Dance; another brilliant collaboration tape on the Front & Follow label by Jodie Lowther and ARC Soundtracks; the brilliant second album by Geniuser, one half of which is Mick Allen from The Models, Rema-Rema, MASS and The Wolfgang Press.

Finally, I reviewed albums by two projects by current members of WireColin Newman and Malka Spigel‘s second Immersion album since they reactivated the band in the last couple of years, and the third album from Wire guitarist Matthew Simms as Slows. Simms is a highly inventive musical polymath, as comfortable with a guitar in his hand as he is using analogue synths, found sound or pretty much anything he can lay his hands on. A Great Big Smile From Venus consists of two long tracks covering an incredible breadth of ideas, continually moving out in directions that are both unexpected and yet entirely expected when you’re familiar with Simms’s vision.

The review section also features Ben Murphy’s fantastically detailed review of the new Reed & Caroline album, Hello Science, released earlier this month on Vince Clarke‘s VeryRecords.

The magazine and 7″ bundle is available exclusively from the Electronic Sound website here.

(c) 2018 Mat Smith / Documentary Evidence for Electronic Sound

VeryRecords: Reed & Caroline ‘Hello Science’ album – released July 6 2018 (Press Release)

VERYRECORDS is pleased to announce the release of Hello Science, the second album from New York and Berkeley electronic duo REED & CAROLINE. The album will be released on JULY 6 2018.

“Formulate hypotheses and gather all the facts – it’s science! It’s all about science!”
Reed & Caroline, ‘It’s Science’

Reed Hays and Caroline Schutz will release their second album through Vince Clarke’s VeryRecords on July 6 2018. Titled Hello Science, the album is the follow-up to 2016’s Buchla & Singing. For clarity, this record also contains plenty of Buchla and singing. And a cello. Oh, and a Vako Orchestron too.

If the title of Reed & Caroline’s debut made it completely clear what it was all about, the subject matter of Hello Science is again immediately apparent. Consisting of twelve songs written by Reed Hays and sung by Caroline Schutz, the inspiration behind the album can be summed up by the album’s grandiose centrepiece ‘It’s All About Science’, because it literally is all about science – at least on the surface.

Hays, who grew up in Huntsville, Alabama, a town where rocket scientists decamped from Europe after the Second World War, fills these songs with intensively-researched references to science and technology – the good, the forgotten and the downright frightening – but he does so in a way that reveals their underlying meaning to be something altogether more profound. Themes of grief, loss, the squandering of the Earth’s resources, our diminished personal privacy, data manipulation and exploiting web-connected home appliances prevail in the album’s songs, but yet they’re disguised as accessible pop tracks.

“Somewhere along the line I realised that my love of science is something spiritual and optimistic,” explains Reed Hays. “In these troubling political times, people are putting science into question. It’s almost like a faith that’s being outlawed. Because of that ‘Hello Science’ became really personal for me.”

The album opens with the contemplative electronics and strings of ‘Before’, a timely treatise on the finite nature of everything on this planet we call home, as well as playfully reminding the listener of their very corporeal impermanence. The urgent post-punk / New Wave-influenced ‘Dark Matter’, featuring bass and vocals from Ayse Hassan and Kendra Frost of Kite-Base (supporting Nine Inch Nails this fall) comes with a succinct enquiry of a chorus – “Does dark matter matter?” – while the ominous, prowling synths of ‘Entropy’ shroud the anguish of a departed friend in chaos theory.

“Reed really uses science as a way to cope with things,” says Caroline Schutz. “It’s a way of making yourself feel better about those issues by looking at them from a scientific perspective.” The exception to such deep catharsis is the blissfully upbeat ‘Ocean’, co-written with Schutz’s pre-teen daughter, a track filled with fluid synths and euphoric Buchla 100 handclaps.

Hello Science is an album rich with contradictions, where contemporary concerns are executed with decades old (and centuries old) musical equipment, where songs that celebrate the overlooked women computers that powered NASA’s early space endeavours and songs that celebrate the perforated printer paper you drew on as a kid can coexist. Yes, it’s all about science – but it’s also human too.

Reed & Caroline will support Erasure on all dates of their North American tour, which commences in Miami on July 6.

Hello Science will be released as a download, stream and CD via www.veryrecords.com.

Track listing

1. Before
2. Dark Matter
3. Buoyancy
4. Another Solar System
5. It’s Science
6. Digital Trash
7. Ocean
8. Entropy
9. Computers
10. Internet Of Things
11. Continuous Interfold
12. Metatron
13. Before (Vince Clarke Remix)

Credits

Caroline Schutz – vocals
Reed Hays – Buchla, Orchestron, cello
Ayse Hassan & Kendra Frost – bass and background vocals on ‘Dark Matter’
Harriett Hays – Russian vocals on ‘Internet Of Things’

Synth corner: Reed Hays on the Orchestron

It may not look like much, but the Vako Orchestron was intended as a portable alternative to the Mellotron. This thing was more the size of an organ and instead of tapes it uses clear plastic discs, and each concentric groove on the disc is a different note.

Kraftwerk used an Orchestron on three of their albums. It creates a very scratchy, low-bandwidth sound. It’s the source of the strings on ‘Trans-Europe Express’ and the the choir on ‘Radio-Activity’, both of which are very unique sounds. They were the only band to really run with it.

The Orchestron is basically a turntable with a lightbulb inside, and a motor. Every key you press opens a little window and a light shines on part of the disc. It’s got such an eery, haunting sound. It’s just so kooky, a technology that’s so linked to one tiny little era in the mid-70s.

For Hello Science Caroline sang every note on the keyboard, and we made a bunch of optical discs from those recordings using the original Orchestron factory equipment through a guy called Pea Hicks. It’s truly amazing that he’s kept that equipment alive. That opened up all sorts of possibilities for adding really interesting vocal sounds to some of the tracks by reducing Caroline to little optical floppy discs. I told Vince about it and he thought I was completely insane, like ‘Can’t you just get samples of all that instead?’.

Reed & Caroline biography

Reed Hays first used the Buchla Electric Music Box after hiding in an empty harp case in the basement of Oberlin College and sneaking into the electronic music lab after hours. Caroline Schutz, an art major, became an accomplished singer and musician in her post-Oberlin days with her bands Folksongs For The Afterlife and The Inner Banks. By sheer chance, Reed and Caroline’s first synthesizer and vocal collaboration became the score for a number of L’Oreal hair commercials.

Their first album, Buchla & Singing was released by VeryRecords in October 2016.

About VeryRecords

VeryRecords was founded in Brooklyn by Erasure’s Vince Clarke in 2016. We are a small record label dedicated to releasing very fine electronic music. The label was launched with 2 Square by Vince Clarke and Paul Hartnoll, which was then followed by releases from Reed & Caroline (Buchla & Singing, 2016) and Alka (The Colour Of Terrible Crystal, 2017).

“Shaping up as a label to keep a serious ear on.” – Electronic Sound

Press release (c) 2018 Mat Smith for VeryRecords

VeryRecords Artists Reed & Caroline Reveal New Track ‘Before’

VeryRecords artists Reed Hays & Caroline Schutz have unveiled the first track to be taken from their second album Hello Science. The album will be released by Vince Clarke‘s VeryRecords on July 6 2018.

(c) 2018 VeryRecords